Asian Americans are Having a Moment in Mainstream Philly Arts Scene

Sitting in the final sold out showing of Wilma Theater’s production of The Good Person of Setzuan, listening to Filipina American Hip Hop artist Ruby Ibarra on the pre show playlist, it strikes me exactly how far we have come as a community. 

Justin Jain, Bi Jean Ngo, and Makoto Hirano are some of the well known Asian American theater artists who have been working with major theaters as long as I have lived in Philadelphia (since 2010). To my knowledge, this is the first time all three have collaborated on a major project together.

Directed by Justin and starring Bi, with Makoto in a strong supporting role, this feels like a culmination of sorts in our local AAPI theater community. What makes it more impressive perhaps is that the production is one of the problematic orientalist cannon pieces that have continued to propagate anti-Asian stereotypes and racist portrayals on stages around the world. 

I am also struck by the significance of having AAPI representation in key behind the scenes roles, like assistant director Cat Ramirez who also serves as Artistic director of the Philadelphia Asian performing artists. Mel Hsu as the onstage musician is another familiar to those in Asian American arts and activist spaces. 

Aside from the many accolades of this production (and there are many), I find it significant that in the same week the Japan America Society of Greater Philadelphia is hosting its six-film retrospective of Youth Rebellion in Japanese Cinema a couple blocks south on Avenue of the Arts at the Lightbox Film Center. 

Then the following weekend across the street at the academy of music, Opera Philadelphia’s community driven production of Madame Butterfly will open. 

To think that three separate marquee productions occurring at the same time starring Asians and Asian Americans on South Broad Street would have been unimaginable even five years ago. Imagine what another five years might bring.