Introduction
We acknowledge that as of this writing (January 2025), there are new legal challenges that seek to impede intentional work towards diversity, equity, inclusion, and access. It is our greatest hope that the American theater remains committed to building and maintaining a truly inclusive culture in which all artists are supported, can fully flourish, and create the art that is within the realm of our possibilities. We look forward to strategizing how we can keep fostering equal opportunities, access, and welcoming environments, together.
In hopes of contributing to a healthier and more sustainable theater ecosystem for all, the Asian American Performers Action Coalition (AAPAC) has collated anecdotal and statistical information on challenges specifically shared by the AAPI/ Asian theater community, as well as developed actionable solutions inclusive of our specific needs and concerns.
AAPAC’s mission since its inception in 2011 has been to expand the perception of AAPI/Asian performers in order to increase their access to and representation on New York City’s stages. For its advocacy work, AAPAC has received an Obie Award and Tony Honor for Excellence in the Theatre. In addition to its annual Visibility Report, which details the hiring practices of Broadway
and the 18 largest non-profit theaters in New York City, AAPAC has hosted a variety of forums and convenings with both the AAPI/ Asian theater community and the industry to discuss pertinent and pressing issues. In the wake of the COVID-19 pandemic and the continued rise of hate crimes against AAPI/ Asian communities, AAPAC invited AAPI/ Asian theater professionals across the country to discuss the challenges of working in Predominantly White Institutions (PWIs).
The conversation illuminated and/or reaffirmed many pervasive themes that guide THE AAPAC THEATER PRACTICES TOOLKIT:
» Our diasporic community is not a monolith, but rather a multiplicity of AAPI/Asian identities, cultures, and experiences.
» The rise in hatred towards AAPI/Asian communities during the COVID-19 pandemic continues to have a profound effect on us all. We must continue to bring attention to the link between harmful portrayals in art and the consequential violence enacted on our communities.
» AAPI/Asian artists and stories have been historically excluded, ignored, and/or erased from the national narrative.
» AAPI/Asian artists have experienced harm in theatrical spaces.
» DEIA conversations and discussions have often excluded AAPI/Asian communities.
» Everyone must do the work, not just those who belong to historically excluded groups.
» In order to create inclusive, healthier, and radically welcoming spaces, the American theater must specifically acknowledge and address the experiences of AAPI/Asian artists.
Methodology
(used in the collection of this data)
1. AAPAC hosted a virtual listening session in February of 2023, inviting AAPI/Asian theater artists from across disciplines and across the country to share their experiences. 56 attendants spoke candidly and anonymously, expressing recurring themes of issues encountered.
2. AAPAC created a survey based on a consensus of the comments shared and heard during our listening session, as well as the AAPAC team’s collective experiences working in the American theater over the past three decades. This survey was disseminated widely across disciplines and across the country in July of 2023 and collated and analyzed in August and September of 2023.
Survey Participants (109 total) consisted of:
Actors
*Some participants identified as practitioners in multiple disciplines. All participants self-identified.
3. The acronym “PWI” refers to Predominantly White Institutions. In numerical terms, a PWI refers to an institution at which historically 50% or more of the employees have been and are white.
4. The acronym “DEIA” refers to Diversity, Equity, Inclusion, and Access.
5. Race and ethnicity are widely defined in basic terms as such: race describes physical traits, and ethnicity refers to cultural identification.
6. For the purposes of this document, the term “AAPI/Asian artists” is meant to be inclusive of Asian and Asian American Pacific Islander artists including people whose ancestry comes from the many countries that make up East Asia, Southeast Asia, the South Asian peninsula, and the Pacific Islands.
do AAPI/Asian artists descend from?
East Asia
includes China, Japan, Macau, Mongolia, North Korea, South Korea, and Taiwan.
Southeast Asia
includes Brunei, Cambodia, Indonesia, Laos, Malaysia, Myanmar, Philippines, Singapore, Timor-Leste, Thailand, and Vietnam.
South Asia/Indian Subcontinent
includes Bangladesh, Bhutan, India, the Maldives, Nepal, Pakistan, and Sri Lanka.
Pacific Islands
includes regions in the Pacific Ocean comprised of three main ethnogeographic groupings: Melanesia, Micronesia, and Polynesia.
As You Read On...
» THE AAPAC THEATER PRACTICES
TOOLKIT is organized by different departments of the theater:
Artistic and Institutional Leadership
Casting
Company Management
Dramaturgy
Design, Technical, and Crew
Marketing and Outreach
Front of House and Reception
Education
Development and Fundraising
Finance
Each section illuminates primary concerns along with best practices gleaned from the data collection and shared anecdotal evidence.
» THE AAPAC THEATER PRACTICES
TOOLKIT is meant to be: a start, a living document, a guide to be downloaded, shared with theaters and theatermakers with whom they collaborate, a conversation starter leading to positive action.
» THE AAPAC THEATER PRACTICES
TOOLKIT is not meant to be: a singular solution, a definitive resource, a permanent document, a gesture to be downloaded and not engaged with.
A MARGIN OF HOPE
53 %
But Do not. of those surveyed feel hopeful about the number of opportunities and levels of access within the industry for us right now.
48 %
Survey Results and Suggested Actionable Solutions, Organized by Theater Departments
LESS THAN
Artistic and Institutional Leadership
How do we create spaces of caring and inclusion for AAPI/Asian theater makers?
5.5 % of those surveyed say that theaters are creating an environment of inclusion for AAPI/Asian people.
“During a first rehearsal at a PWI in 2022, the General Manager acknowledged the increased violence towards AAPI women in New York City and expressed concern. Made me feel seen.”
“Most recently I did a Production that was AAPI written, directed, and produced, it was 99.9% female and gender queer and it was honestly one of the best experiences I’ve ever had in my lifetime. Every day when we came in the Director implemented what they called a ‘check in’ where we gave a number of evaluations to how we were coming in that day, how activated we were, and after we answered that question we were asked if we had any access needs for the day.”
“My racially diverse cast experienced a student matinee at a PWI during which the students were out of control - they were so loud we couldn’t hear each other on stage, were trying to trip actors rushing up and down stairs, and shouted derogatory slurs at us, among other things, and no one seemed to know what to do. We actors felt like we had to find a way to ensure the show would “go on.” Later, the AD of the theater apologized to us for not making it clear that our safety was always paramount - that WE had the power to stop the show, for any reason. The theater then developed protocols for anyone to call for a “hold” during a show, and we practiced it the next year during tech. It’s an evolving document, but the fact that it exists and is practiced - just like a fire drill - makes me feel so safe and so empowered on their stage.”
ACTIONABLE SOLUTIONS:
Ensure that DEIA trainings for staff are conducted by a diverse array of DEIA coordinators who have experience in the theater.
Ensure that all DEIA trainings are expansive and include specific action items for AAPI/ Asian inclusion.
Create Community Guidelines, and ensure that the needs of AAPI/Asian artists are specifically addressed. Have them readily available throughout the process.
In rehearsals and production, consider daily check-ins on access needs and what folks require for the day.
If an AAPI/Asian-centric production explores traumatic themes, offer counseling or other access to emotional and psychological health support.
Offer resources and support for staff and visiting artists who are parents and/or caregivers.
Offer resources and support for Affinity Groups for staff and visiting artists, on request.
Create and communicate clear pathways for communication if a problem arises.
During performances, empower artists to advocate for their needs when a safety concern arises by developing protocols, eg. an actor practicing a hold or physical/verbal language to indicate an immediate need.
How do we create more AAPI/Asian leaders in the theater?
A LACK OF LEADERSHIP ROLES
75.2 % surveyed say that they rarely or only sometimes see AAPI/Asian people in leadership positions on staff or in the administrations of PWIs.
ACTIONABLE SOLUTIONS:
Question inherited power structures. Challenge biases about who is perceived as a leader. Confront misconceptions that AAPI/Asian people cannot be leaders.
Diversify staff to include AAPI/Asian administrators in all departments.
Create fellowships and pathways for AAPI/Asian artists on an administrative track.
Prioritize mobility. Offer opportunities for existing AAPI/Asian staff to advance in leadership.
How do we achieve pay parity with AAPI/Asian artists in mind?
“Earning gaps vary from theater to theater, impacted by which space in which an AAPI/Asian story may be programmed, and/or AAPI/Asian artists are employed. In AAPAC’s 2018-19 Visibility Report reflecting the hiring practices of Broadway and NYC non-profit theaters, these factors contributed to the observation that for every $1 spent on White actors, 10 cents was spent on AAPI/Asian actors.”
ACTIONABLE SOLUTIONS:
Commission AAPI/Asian playwrights for new play development, and ensure there are pathways to production.
For theaters with multiple spaces, program AAPI/Asian work in all spaces, including mainstage spaces.
Employ and engage with more AAPI/ Asian playwrights, directors, and creatives, and empower them to make hiring decisions for their teams (assistants, associates, designers, etc…). Consequently, this may manifest into more jobs and wages for other AAPI/Asian artists.
How do we produce AAPI/Asian centric stories with integrity?
A LACK OF ASIAN VOICES IN THE CREATIVE TEAM
55 % surveyed have rarely or only sometimes worked on a show that is AAPI/Asian-centric at a PWI.
58.7 % surveyed say that when working on a production that is AAPI/ Asian-centric at a PWI, creative team members are rarely or only sometimes also AAPI/Asian.
ACTIONABLE SOLUTIONS:
Employ more AAPI/Asian directors with hiring power for AAPI/Asian-centric productions.
Employ more AAPI/Asian creatives and designers for AAPI/Asian-centric productions.
Employ more AAPI/Asian dramaturgs for AAPI/Asian-centric productions.
Do not wait for an AAPI/Asian-centric production to begin a relationship. Build and maintain ongoing relationships with AAPI/Asian creatives, designers, and dramaturgs.
For AAPI/Asian-centric productions, create a regular practice of checking in to empower all company members to raise any specific needs throughout the production.
Consider hiring cultural consultants for productions that have specific cultural needs to ensure the story is fully supported, e.g. hair maintenance needs, appropriate makeup and period costumes from AAPI/Asian history, culturally appropriate music, etc.
Casting
How do we respectfully engage AAPI/ Asian artists in the casting process?
ACTIONABLE SOLUTIONS:
69.7 % say that they often or sometimes see a casting breakdown for AAPI/Asian characters that is culturally insensitive and/or not specific.
Ensure that when seeking AAPI/Asian actors, the character breakdown is more substantial than “Asian, gender, age.” If the Asian ethnicity is unspecified, have a dialogue with casting and the creatives about why.
Know the difference between East Asian, Southeast Asian, South Asian, and Pacific Islander. Learn the difference between the regions and peoples that make up those groups.
Be specific when indicating the character speaks another language or has an accent, including being mindful of region-specific dialects/accents within countries.
If lines are to be spoken in another language than English, provide the translation. Yes, even for auditions.
“‘Speaks Chinese’ is a dead give-away that the production is culturally careless, given that there are multiple Chinese languages.”
How do we hire more AAPI/Asian actors?
In AAPAC’s 2021-22 Visibility Report, only 7.5% of roles on New York City stages went to AAPI/Asian actors in the 2021-22 season.
A LACK OF COMMUNICATION
76.1 % of those surveyed say that a PWI rarely or sometimes re-engages with them after working with them.
MIXED RACE ACTORS
AAPI/ASIAN ACTORS
LATINX ACTORS MENA ACTORS
Visibility Report 2021 - 2022
ACTIONABLE SOLUTIONS:
Recognize and accept that there is still a general lack of opportunities for AAPI/Asian actors of all ethnicities.
Employ more AAPI/Asian playwrights, directors, and creatives and recognize their hiring power. Consequently, this may manifest into more jobs for AAPI/Asian actors.
Widen the scope of characters that AAPI/Asian actors can play. Cast an AAPI/Asian actor in a role that is not necessarily ethnically delineated as such. Have conversations about what it means for an AAPI/ Asian person to play that role.
While writers and directors may be resources for casting, especially through development, do not expect them to function as casting directors. Casting is a distinct job, and if you would like your writer and/ or director to cast a show, compensate them for this work, which is separate and distinct from their creative role(s).
Races are not interchangeable. If a role is specified as AAPI/Asian, cast it with an AAPI/Asian actor.
Company Management
How do we foster an environment of respect for AAPI/ Asian artists in the workplace?
“Ten minutes after I was introduced to the company manager of a show in the second stop of its co-production, the company manager confused the one other AAPI actor in the cast (who looked nothing like me and was standing next to me) for me. We were also told by a stagehand at that theater that they couldn’t tell us apart unless we were dressed in different colored dresses.”
71.6 % of those surveyed have been misidentified or “wrong Asianed” in the workplace.
ACTIONABLE SOLUTIONS:
Create look books that include photos and names with correct spelling and pronunciations of all individuals working on productions, including House staff. Make them available for theater personnel at appropriate times, e.g. prep week for creatives, before invited dress rehearsals for Front of House, and at all times in the rehearsal and production space. These could also live in a virtual space where everyone has ready access.
Acknowledge the existence of racial profiling, discrimination, and anti-AAPI/Asian hate crimes. Ensure that housing meets safety requirements for out-of-town AAPI/ Asian artists. Create clear protocols for communication if artists feel unsafe. On request, provide artists safe transportation to and from the theater.
If your theater has Affinity Groups for staff, ensure that visiting AAPI/Asian artists are invited to those meetings and gatherings.
Make sure that there are options for culturally specific dietary restrictions at company functions, as needed.
Offer support and resources for visiting artists who are parents and/or caregivers.
Create exit interviews or surveys for feedback from all artists. Have post-mortem conversations with staff about pervasive and resonant responses. Use the information to cultivate more sustainable and equitable practices.
Dramaturgy
How do we dramaturgically support AAPI/Asian-centric productions and artists?
65.1 % of those surveyed say they’ve had to provide dramaturgical, cultural consultant, or translator services without additional compensation or credit.
“I once did a show in which half the cast was Indian and the other half was white/ British. Our dialect coach gave us very specific resources for the various UK accents we all had to employ, but when we asked for the same for specific accents from the various regions of India that our characters were from, we received generic information that felt stereotypical (like Hank Azaria voicing Apu) and were told to find our own video interviews of people from those regions to emulate. It was basically ‘just do your own accent,’ even though our characters weren’t necessarily from the same parts of India as our own families.”
LITERATURE
Indian Immigrants in a Victorian City
CHINESE MIGRATION TO NORTH AMERICA 1865-1869 e E ects of Colonialism
“I was cast in a period piece set in 1800s London at a PWI and realized I’d never been cast in a period piece before. I’m South Asian, and I guess it always felt like no one believed my body belonged in period pieces? On day 1, the dramaturg for this production provided me with incredible resources of South Asian women in London in the time period - it gave me great insight on costume, physicality, and demeanor for my character, and helped flesh out my backstory. I felt really seen, and it helped dispel those negative feelings of not belonging.”
ACTIONABLE SOLUTIONS:
Do not expect AAPI/Asian artists who are already employed in a production to provide cultural consultant, dialect, or translation services – especially without compensation.
Engage and employ dramaturgs for AAPI/ Asian-centric productions - whenever possible, prioritize AAPI/Asian dramaturgs
For non-AAPI/Asian-centric productions in which an AAPI/Asian person has been cast, acknowledge and provide resources on how AAPI/Asian bodies inhabit and have inhabited spaces and times specific to the production.
Work with the dramaturg to plan for practical needs for artists involved in preproduction, rehearsals, and production.
Employ culturally specific dialect and/or language coaches, as needed.
Share dramaturgical materials with the theater at large.
How can we create dramaturgical access for audiences?
A director’s program notes for their LORT production of Cyrano de Bergerac:
“When I first approached the designers, I explained that we were casting very specific identities for very specific reasons. I wanted to center Black female beauty as the standard in this Paris; I wanted to play against the idea of the Latino lover who is effortless with women; and I wanted to use Cyrano’s nose and poetic skills as a metaphor for the internal racism of the Asian American male experience. The identities of the actors inform their costumes, which evoke Africa, China, etc. It extends to the fighting as well. When we see Cyrano cut loose, there are elements of wuxia films like Crouching Tiger, Hidden Dragon because our Cyrano is played by a Chinese American. I discovered this idea during last season’s production of Shakespeare’s Twelfth Night and now it informs so much of the work I make. I want to fit the classics to the people who are making them right now–which is no different than what Shakespeare did in his time. He wrote for the acting company and the theater he had; we’re trying to do the same.”
ACTIONABLE SOLUTIONS:
Understand that audiences will have different points of knowledge or access to certain stories. Know that the work to engage audiences in meaningful ways is different for each production. Help audiences encounter an AAPI/Asia-centric production without pandering to them.
Build cultural competency before audiences arrive. Provide dramaturgical context or information about the director and/or playwright’s vision in marketing materials, social media assets, and on the theater’s website.
Support audience members in the production experience. Provide dramaturgical context or information about the director and/or playwright’s vision in lobby displays, in the programs, and other supplemental show materials.
Recognize opportunities for collaboration and partnership with local organizations. (See Marketing and Outreach section.)
Design, Technical, and Crew
How do we technically support AAPI/Asian-centric productions?
“I recently performed in a play set in the 1950s at a PWI. At my first fitting, the makeup/wig designer provided me with character research materials to give me a sense of how my wig would look and how she was envisioning my makeup. The designer had intentionally pulled images of 1950s Bollywood stars, and it was the first time I’d been given a character inspiration sheet in which the women on the pages were South Asian, like me.”
“I once did a show with a majority Asian cast in which I was the only South Asian member. During tech the lighting designer repeatedly told me that I was ‘hard to light’ which over time was revealed to mean that I had the darkest skin tone.”
ACTIONABLE SOLUTIONS:
Make dramaturgical information readily available for all designers, crew members and artists working on the production.
Consider the race and ethnicity of the actors when sharing research images.
Engage in a regular practice of checking in to empower all designers, technicians, and other crew to raise any specific needs throughout the production.
Consider requesting cultural consultants for productions that have specific cultural needs to ensure the story is fully supported, e.g. hair maintenance needs; appropriate makeup, period costumes, and props; lighting that reflects AAPI/Asian skin tone(s) accurately; specific and appropriate soundscapes, etc.
Work with costume and wardrobe departments to offer options for hairdressers for AAPI/Asian hair.
Work with costume and wardrobe departments to understand historical implications and best practices of specific AAPI/ Asian hairstyles or clothing. Treat them accordingly.
Work with lighting departments to ensure lighting options work for AAPI/Asian skin tones.
Marketing and Outreach
How do we market AAPI/Asian-centric productions?
62.3 % surveyed say they have worked on a production of an AAPI/ Asian-centric show in which they felt that the marketing materials were culturally insensitive.
In AAPAC’s February 2023 convening, at least one artist in every breakout group shared an experience of a stereotypical font being used in marketing materials for a production in which they were involved. The overwhelming consensus was to stop using that font.
ACTIONABLE SOLUTIONS:
No more Chop Suey font. Or any font, imagery, photography or design elements that convey a vague, unspecific evocation of orientalism.
When marketing and creating marketing materials for a new play, consult the playwright and director about their intended impact, themes, and audience so as to effectively collaborate on that reach. When marketing and creating marketing materials for a preexisting play, consult the director.
If marketing materials are made to fit the vision of an entire season and/or the ethos of a theater, clearly communicate that and don’t be scared to collaborate!
When using an outside public relations firm, make sure that all members of the team know how to spell and pronounce the names of all artists involved in the production.
How do we sustainably engage AAPI/Asian communities, partners, and audiences without exploiting AAPI/Asian artists?
ACTIONABLE SOLUTIONS:
“When
it comes to marketing, I’m frequently asked about ways to reach out to the Filipino community in a city, even if I’ve never been to that city!”
45 % surveyed say they have been expected to take on additional duties with regards to audience outreach to AAPI/ Asian communities and expanding AAPI/Asian audiences for any show.
Get to know your AAPI/Asian neighbors long before an AAPI/Asian-centric show is produced or an AAPI/Asian artist works at the theater. Strive for and cultivate meaningful relationships built on community, curiosity, and reciprocity. Invest in people.
Invite AAPI/Asian neighbors to all shows. Offer AAPI/ Asian audience nights for both AAPI/Asian and nonAAPI/Asian shows. Provide discounts and comps as needed.
During the run of an AAPI/ Asian-centric production, partner with community organizations on possible concurrent events. Support one another by crosspromoting interests.
If an AAPI/Asian artist is engaged for press interviews or social media outreach, make sure they are supported by clearly outlining expectations, instructions, and talking points. If they are traveling for an interview, ensure their safety by facilitating transportation and accompanying them.
Front of House and Reception
How do we build respectful relationships between audiences and AAPI/Asian artists?
Many survey respondents reported negative experiences with audience members in talkbacks or post-show.
ACTIONABLE SOLUTIONS:
Understand that Front of House staff are often the bridge between artists and audience members. Empower them by providing education and context about the production so they may appropriately respond to audience questions.
Create look books that include photos and names with pronunciations of all individuals working on productions. Make them available for Front of House house staff to review before invited dress.
When organizing talkbacks for cast, make sure the moderator has cultural competency or cultural competency training and is prepared to run interference for any questionable feedback, comments, or questions from the audience.
Ask if there is anything theaters can do to provide resources or recourse for AAPI/Asian artists with regards to engaging with audiences. Create protocols for addressing and possibly removing disruptive audience members during shows.
Offer the director and/or playwright an opportunity to share how they wish the audience to receive the work via curtain speech or program note. Create an environment where the audience feels comfortable to laugh, cry, or respond in an emotional way.
BOX OFFICE
PROGRAM
(Front of House and Reception)
Director of a LORT modern production of Cyrano de Bergerac (previously referenced), in which Cyrano was played by an AAPI actor, spoke to FOH and ushers in anticipation of audience members possibly asking why this Cyrano did not have a prosthetic nose, and the intentional symbolism behind this casting. Most ushers were not familiar with the original story so the director needed to tell them what the traditional productions did compared to this one, and gave them a few talking points around it in case anyone asked. He and the Artistic Director also included program notes acknowledging this vision.
Education
How do we create meaningful educational opportunities with AAPI/Asian-centric productions and artists?
ACTIONABLE SOLUTIONS:
Coordinate with the creative team to receive dramaturgical context and information about the director/playwright’s vision for the production.
Collaborate with administrators and teachers to prepare students for attending a production. Discuss elements of the story and more specifically, AAPI/Asiancentric topics with which students may be unfamiliar. Offer expectations and responsibilities of audience members to ensure safety and enjoyment for all parties, especially for students who may be new to the theater experience. Reiterate these expectations and responsibilities immediately before the show begins.
Remember students are current and future audience members! Continue to build their cultural competency. Host post-show talkbacks with students to engage them in questions. Have them write post-show reflections and share with the theater and the production’s artists. Find ways to more intimately engage students in other productions or programs at the theater.
When presenting student matinee talkbacks of an AAPI/Asian-centric production, consider that the experience might be different for some AAPI/ Asian students than for their non-AAPI/Asian classmates. If they indicate that they want to share their experience(s) of the productions, hold space for those students and ensure they have equitable time to do so.
When inviting an artist(s) affiliated with the production to engage with students (in advance of or following their attendance at an AAPI/Asian-centric show), provide them with preparatory materials encompassing information about the theater, the education department, and the production beyond their role in it. Ideally ensure the artist(s) is accompanied by someone from the education department and compensated for their time, especially if this engagement is taking place offsite outside of rehearsal/performance hours.
“I once performed in a production where I was asked to visit with some school programs and discuss the major themes of the play. Up until being onsite, I hadn’t met anyone from the education department, except for the first day introductions. I didn’t get a prepared list of talking points beforehand. I showed up to these classes and had to calibrate the questions in real time. I was left with the pervasive feeling that I wasn’t considered a collaborator but rather a vessel and a messenger. I believe we could have meaningfully collaborated on the content, so that the students could have the most optimal experience in engaging with the story.”
Development and Fundraising
How do we respectfully engage AAPI/Asian communities and persons for development and fundraising opportunities?
“Some of the tasks that fall under the umbrella of development are traditionally domestic tasks that can at times be problematic for generally female development teams tending to high level donors and important board members. These tasks can be further complicated by race. So when a staff member, who is also a woman of color, is setting up coffee and snacks for a Board meeting one day, it’s harder for her to turn around the next day and ask those same board members to make a major gift or solicit the involvement of their friends.”
THE DISTRIBUTION OF FUNDING TO PWIs
As noted in the 2018-19 Visibility Report, 76.4% of government grants and 94.6% of private funding is awarded to PWIs, which puts theaters of color at a distinct disadvantage in being able to compensate artists and administrators at a fair or market rate.
ACTIONABLE SOLUTIONS:
Invite AAPI/Asian audience members to become invested patrons of the theater. Host patron nights. Ask them what their interests are. Develop reciprocity in these relationships.
Host AAPI nights to cultivate community for both AAPIcentric and other shows. If you do outreach for a specific show, continue that work for others. Build relationships with the community.
A diverse development staff can facilitate a diverse patron base.
Be aware of the racial dynamics within development teams. Make sure that the typically domestic tasks (set up and clean up for Board or Patron events) is rotated equitably through the staff.
Create and cultivate pathways for AAPI/Asian patrons to join the board of the theater.
Compensate AAPI/Asian artists for any assistance provided for grant writing.
Visibility Report 2018 - 2019
Finance
How can we ensure fiscal parity for AAPI/Asian artists?
ACTIONABLE SOLUTIONS:
To ensure that payroll is correct and on time, crossreference all documents so that the spelling of professional and legal names are consistent and clear.
When hiring AAPI/ Asian professionals (administration, staff, production, etc), be conscious of any pay gaps with others in similar job capacities and work to close them.
In order to encourage greater equitable financial competency, consider offering financial consultations to staff and visiting artists.
TERIMA KASIH
Conclusion
Thank you for reading! This guide is designed to facilitate a strong start towards creating a culture of inclusion in your theater. Our hope is that enacting many of these policies will benefit not only the AAPI/ Asian theater community but all communities who participate in creating theater. An inclusive environment supports artists and administrators of all races, genders, and communities. While this document is not meant to solve all issues that may arise in workplaces with diverse populations, we believe this is a strong place to begin taking actionable steps towards creating a vibrant theater that reflects our society and its many facets. We hope that you will take these suggestions to heart.
Since this document is a starting point rather than an ending, we invite you to reach out to AAPAC to share other practices not outlined here that you have discovered or may discover in the future that also build an inclusive environment.
Acknowledgements
Data Visualization, Graphic Design, Report Layout:
Manny Sy
Toolkit Lead Writers:
Christine Toy Johnson and Vichet Chum
Toolkit Committee:
Vichet Chum, Christine Toy Johnson, Eileen Rivera, Lipica Shah, and Nandita Shenoy
Toolkit Concept:
Pun Bandhu
AAPAC Original Logo Design:
Siho Ellsmore
2025 AAPAC Steering Committee:
Pun Bandhu, Vichet Chum, Christine Toy Johnson, Peter Kim, Julienne Hanzelka Kim, Eileen Rivera, Nandita Shenoy, and Lipica Shah
Special thanks to the American Theatre Wing for its unwavering support of this project as well as the work of AAPAC. Cyrano de Bergerac graphic is courtesy of Kansas City Repertory Theatre (KCRep). We also want to acknowledge all the artists of AAPI/Asian descent who shared their experiences with us through the Listening Session and the Survey. We thank you for your invaluable feedback!
This Toolkit is public and any part of it is encouraged to be used, quoted, or re-published widely. We simply ask that proper credit be given to the Asian American Performers Action Coalition (AAPAC). Prior notice of use in official publications such as books, magazines, and periodicals is appreciated by emailing us at the email address below so that we may archive where our statistics are being published. Notification is not necessary for graduate theses or school reports. If you found this Toolkit useful, please consider making a donation on our website.
Contact us at: aapacnyc@gmail.com & aapacnyc.org