Much of the Asian American community is in an uproar over this year’s production of “The Mikado” by the Seattle Gilbert & Sullivan Society, which features unabashed yellowface. Yesterday, I published a wonderful guest-post by LA-based activist Sean Miura (@seanmiura) about the production.
Both the Gilbert & Sullivan Society and the theater where “The Mikado” is playing — the stages of the Seattle Repertory Theater — have found themselves thrust into the spotlight. Today, in response to the controversy, the Seattle Repertory Theatre issued a public statement clarifying their relationship to the production. The Seattle Rep writes that they have no relationship with the Seattle Gilbert & Sullivan Society, and that the Bagley Wright Stage where “The Mikado” will run this month is rented to the Society by way of a contract between the Rep and the City of Seattle. Thus, the Seattle Rep clarifies that they did not authorize the Society’s yellowface production of “The Mikado”.
The Rep also commits to hosting a community townhall on race, art and cultural representation that can address some of the issues raised.
The Seattle Gilbert and Sullivan Society’s production of comic-opera “The Mikado” has caused controversy due to the nature of the show and the production’s use of White actors to play Japanese characters. LA-based community organizer Sean Miura (@seanmiura) reflects on his experience with the “The Mikado” and the society’s response to the backlash.
I hold a special place in my heart for the people of Seattle.
Seattle is not where I grew up, but Seattle was the closest I had to an Asian American community with the International District, Uwajimaya food court lunches, and the salmon my uncle Tike would catch fresh in the mornings. My mom drove me, 10 years old at the time, from our home in Vancouver to see David Henry Hwang’s “Golden Child” at the Seattle Reparatory Theater, the first time I saw Asian Americans telling our own stories live.