Thursday, July 29, 2004
An Interview with "Red" star Francis Jue
"Red" plays for two more weekends at the Lucie Stern Theatre and stars the critically acclaimed Francis Jue as Beijing Opera Diva, Hua. If you haven't seen this visually and emotionally compelling show yet, click on the link to the left and get your tickets now. To intrigue you even further, be sure to read this entry, an interview with Jue.
We asked Jue about the art and the craft behind "Red". I think you'll find his responses thoughtful, articulate and fascinating:
Q1. Had you any exposure to the movements and style of Beijing Opera before you first performed in "Red"?
A1. My first exposure to Beijing Opera was when I understudied in the Broadway production of M. BUTTERFLY. Jamie Guan, our choreographer for RED, was also the original choreographer of M. BUTTERFLY. So it has been fantastic working with him again, and building on what I'd begun to learn from him way back in 1989. Since then, working on touring and regional productions of M. BUTTERFLY, I have worked with a couple of other Beijing Opera choreographers, but Jamie has been my strongest teacher.
Q2. After such a long run on Broadway, what's it like to be back in the regional world, and for a short run?
A2. I am so grateful to TheatreWorks for bringing me back home to do RED. I'm glad I got to leave THOROUGHLY MODERN MILLIE before it closed. I was emotional enough leaving after over 2 years of doing that show on Broadway, but I would probably have been a sobbing mess if I'd had to close the show after having worked on it from workshops, to its pre-Broadway tryout, to its successful Broadway run. Originating a role in a huge Broadway musical was certainly a dream, and my experience was fantastic. But my commitment to the work is the same, whether it's on Broadway or elsewhere. I have loved working at TheatreWorks, which is one of the most supportive and adventurous environments I've experienced. Doing a long run gave me a great deal of confidence, and has helped me learn faster with the shorter process and performance schedule here.
Q3. You've done some amazing roles in both musicals and straight plays. That's pretty rare. Does it feel the same to you? Do you approach the role the same? Do you prefer one style over the other?
A3. For me, the proverbial "grass is always greener." When I'm doing a musical, I often wish I were doing a play, and vice versa. When I'm doing a drama, I often wish I were doing a comedy, and vice versa. It's not that I get bored, so much as I am endlessly curious about all sorts of theatre, all sorts of roles, all sorts of people. TheatreWorks has given me fantastic opportunities in many different kinds of roles and genres, and I have worked hard to honor the intentions of each script. In many ways, it's the script and the director's vision of the production which guide my approach to each role, since different scripts have such different demands, styles, use of language, etc. I was an English Literature major in college, and so I have a deep respect for text. Script analysis is usually where I begin my process, building upon a show's themes and storyline, figuring out my character's role within that scheme, using the language to help identify physical, emotional, even aural clues to the character. I like all kinds of musicals and plays, from fluffy entertainments to difficult dramas. If I have any preference at all, it is for roles and scripts that allow me to be most human, rather than simply functionary.
Q4. How does the story of "Red" resonate personally with you and your background?
A4. With our production of RED, I want to honor those who suffered during the Cultural Revolution, both the oppressed and the oppressors, honor the idealism and artistry it took to maintain a way of life while dreaming of a better one. I want to understand through the play how we make families and how we deal with the families into which we are born. Like Master Hua, I am in awe of the power of art to transform and elevate, even in the face of destruction and brutality. With this show, I want to celebrate the creative impulse, the instinct to endure, in the face of feckless, violent circumstances. The show doesn't say that ideals are possible. It merely suggests that hope is all we've got.
We asked Jue about the art and the craft behind "Red". I think you'll find his responses thoughtful, articulate and fascinating:
Q1. Had you any exposure to the movements and style of Beijing Opera before you first performed in "Red"?
A1. My first exposure to Beijing Opera was when I understudied in the Broadway production of M. BUTTERFLY. Jamie Guan, our choreographer for RED, was also the original choreographer of M. BUTTERFLY. So it has been fantastic working with him again, and building on what I'd begun to learn from him way back in 1989. Since then, working on touring and regional productions of M. BUTTERFLY, I have worked with a couple of other Beijing Opera choreographers, but Jamie has been my strongest teacher.
Q2. After such a long run on Broadway, what's it like to be back in the regional world, and for a short run?
A2. I am so grateful to TheatreWorks for bringing me back home to do RED. I'm glad I got to leave THOROUGHLY MODERN MILLIE before it closed. I was emotional enough leaving after over 2 years of doing that show on Broadway, but I would probably have been a sobbing mess if I'd had to close the show after having worked on it from workshops, to its pre-Broadway tryout, to its successful Broadway run. Originating a role in a huge Broadway musical was certainly a dream, and my experience was fantastic. But my commitment to the work is the same, whether it's on Broadway or elsewhere. I have loved working at TheatreWorks, which is one of the most supportive and adventurous environments I've experienced. Doing a long run gave me a great deal of confidence, and has helped me learn faster with the shorter process and performance schedule here.
Q3. You've done some amazing roles in both musicals and straight plays. That's pretty rare. Does it feel the same to you? Do you approach the role the same? Do you prefer one style over the other?
A3. For me, the proverbial "grass is always greener." When I'm doing a musical, I often wish I were doing a play, and vice versa. When I'm doing a drama, I often wish I were doing a comedy, and vice versa. It's not that I get bored, so much as I am endlessly curious about all sorts of theatre, all sorts of roles, all sorts of people. TheatreWorks has given me fantastic opportunities in many different kinds of roles and genres, and I have worked hard to honor the intentions of each script. In many ways, it's the script and the director's vision of the production which guide my approach to each role, since different scripts have such different demands, styles, use of language, etc. I was an English Literature major in college, and so I have a deep respect for text. Script analysis is usually where I begin my process, building upon a show's themes and storyline, figuring out my character's role within that scheme, using the language to help identify physical, emotional, even aural clues to the character. I like all kinds of musicals and plays, from fluffy entertainments to difficult dramas. If I have any preference at all, it is for roles and scripts that allow me to be most human, rather than simply functionary.
Q4. How does the story of "Red" resonate personally with you and your background?
A4. With our production of RED, I want to honor those who suffered during the Cultural Revolution, both the oppressed and the oppressors, honor the idealism and artistry it took to maintain a way of life while dreaming of a better one. I want to understand through the play how we make families and how we deal with the families into which we are born. Like Master Hua, I am in awe of the power of art to transform and elevate, even in the face of destruction and brutality. With this show, I want to celebrate the creative impulse, the instinct to endure, in the face of feckless, violent circumstances. The show doesn't say that ideals are possible. It merely suggests that hope is all we've got.
