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 the city where my great grandmother settled after leaving Japan, going on to raise four daughters as a single mom. Seattle is where my great uncle crossed the Bainbridge Island pier to board boats to buses to trains to concentration camps in the wake of Pearl Harbor hysteria. Seattle is where my mother moved after law school, became chapter president of the local JACL, fought for redress and reparations, and fought to right the conviction of a man who resisted being imprisoned in a World War II concentration camp. Seattle is where my mom met my dad. Seattle is where I was born.
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.
I saw The Mikado a couple years later.