Last Updated on June 1, 2019, by eNotes Editorial. Word Count: 1223
Yellow Face premiered at Center Theater Group/Mark Taper Forum on May 10, 2007, in Los Angeles, California. A satirical, mock-documentary that explores the underlying foundation of what race means in America, Yellow Face includes the author, David Henry Hwang, as protagonist. Set from 1990 to 2007 in shifting places such as New York, Los Angeles, Washington D. C., Boston, San Francisco, and China, Yellow Face employs a broken, nonlinear narrative that floods the line between fact and fiction.
At the start of the play, the time is January 30, 2006, and DHH (David Henry Hwang) receives an e-mail from Marcus, the actor Hwang has cast in the leading role in his play Face Value. Marcus has left the United States to escape controversy and is staying in Guizhou Province, China. DHH comments that Marcus is missed by those in the Asian American community but realizes that he is still unknown in the mainstream culture.
The play suddenly shifts to a collage of media commentary on the career of DHH and the success of an earlier play, M. Butterfly, which won the Tony Award for Best Play in 1988. BD Wong, the actor who played the role of Song in M. Butterfly, enters the plot and talks to DHH about the casting of Jonathan Pryce, a Welsh actor, as the Engineer in Miss Saigon. The two are angry because a White actor has been cast in the role of French-Vietnamese character, and they think an Asian actor should have been cast instead. During the original run of Miss Saigon in London, Pryce wore eye prostheses and bronzing cream (i.e., “yellow face”) on stage, and DHH thinks this will not be allowed in America. BD assures him that Pryce has already been allowed to play the role on Broadway, and DHH is outraged, comparing the act to that of actors using black face to play “Mammy” roles earlier in the century. DHH, among others, registers his protest with the Actors’ Equity Association; on August 8, 1990, the association bars Pryce from playing the role of a Eurasian in the play. Controversy now sparks over recasting the role, and critics argue that Pryce’s performance is essential to Miss Saigon. The Asian American community demands that the association uphold its decision, but the association lifts the ban a little more than a week later.
Afterward, DHH receives a telephone call from his father, HYH (Henry Y. Hwang), who reads some of the press that has been published on his son. DHH has been actively and openly criticizing the Actors’ Equity Association, and HYH thinks all this is negative press for someone as successful as his son. HYH then says that Miss Saigon sounds like a lovely play and asks DHH to go see it with him when he visits New York the next month. DHH reminds his father that he protested the play, but HYH is caught up in the illusion of Miss Saigon’s plot and characters. DHH cannot believe that his father accepts this romanticized vision of Miss Saigon.
The play then shifts to discussions surrounding the casting for DHH’s new play, Face Value, a comedy about racial identity that was inspired by the controversy surrounding Pryce’s casting in Miss Saigon. The play has two roles for Asian American protesters, and Miles Newman, the casting director, brings in a string of Asian actors to audition for the parts. Even though obvious talent is put before him, DHH turns down actor after actor, claiming they just do not fit. But when Marcus G. Dahlman auditions, DHH is convinced he will be a star. Newman asks Dahlman many indirect questions to get him to offer information regarding his identity, but unwittingly Dahlman does not take the bait. Newman questions whether Dahlman is Asian (he certainly does not look Asian, and his surname is Dahlman), but DHH is otherwise convinced. When the play opens in previews, it is met with harsh criticism and flops before making it to Broadway.
(The entire section contains 1223 words.)
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