PLAY GUIDE
EVERYMAN THEATRE G REAT STO RI ES, WELL TOLD.
#bmoreeveryman
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A NOTE FROM THE ARTISTIC DIRECTOR By Vincent M. Lancisi, Artistic Director
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elcome. I was raised with the belief from my Italian grandmother that “food is love.” My family had special dishes for marriage, for funerals—for virtually every occasion—and we know this to be a custom celebrated in many cultures. “Comfort food” is a term I truly believe in—my food memories are plentiful, and certain dishes can bring tears to my eyes by reminding me of someone who is no longer with us, or put a smile on my face as I remember a special moment shared with someone. Like Diane in the play, I, too, have traveled far and wide for the perfect dish. I have searched and searched for authentic ingredients that would give me the exact taste or smell to trigger a special food memory, or to create a new one. Julia Cho’s Aubergine embodies the intersection of food, memory and life’s seminal moments in a way that really speaks to me. Her play is almost spiritual in nature— examining life’s rites of passage and the need we have for connection through words, meaningful acts and special dishes. Some rites of passage (leaving this earth, for example) involve the desire to help loved ones get through the experience with as little pain and as much love as possible.
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My mother passed away several years ago. She was a great cook. There are certain dishes I cook to celebrate her—but they are never as good as when she made them. The ingredients are the same, and the cooking methods have not changed, yet her special way of making these same dishes made them the best—and much better than I could ever replicate. I believe it is because my mother was a nurturer, and she was spiritual, and she put her great capacity for love into her cooking. Food is an expression of ourselves. Often, it is we who are the special ingredient in our own recipes. Some might think Aubergine is a sad play about death and loss, but I don’t see it that way. To me, Aubergine is a play about caregiving, nurturing, and the privilege of helping ease the pain of a loved one who is leaving this life—the privilege of letting the person feel our love. We find the right bed for them, take them home (if we can), be with them, hold their hand, make them soup, and love them. Then, we remember them and honor them in many ways—often with food. It is the circle of life. We wish we could share another dish with them, but, we know it will never be the same, so, we cherish their memory through food. This is one way that loved ones stay with us. Food heals, food nourishes, food satiates, food hugs, and food remembers. Food is love. Enjoy the show.
EVERYMAN THEATRE
Vincent M. Lancisi, Founding Artistic Director Jonathan K. Waller, Managing Director
In association with Olney Theatre Center
Jason Loewith, Artistic Director Debbie Ellinghaus, Managing Director
presents
AUBERGINE Playwright JULIA CHO Director VINCENT M. LANCISI
Diane/Hospital Worker................................................................. MEGAN ANDERSON* Cornelia......................................................................................................... EUNICE BAE* Uncle..................................................................................................................SONG KIM Ray’s Father.......................................................................................... GLENN KUBOTA* Ray..................................................................................................................TONY NAM* Lucien........................................................................................ JEFFERSON A. RUSSELL* Set Design
Lighting Design
Costume Design
MISHA KACHMAN
HAROLD F. BURGESS II
IVANIA STACK
Sound Design
Dialects
Projection Designer
ROC LEE
Props Master
KATE BRITTINHAM
ZACH CAMPION Stage Manager
CAT WALLIS*
ZACHARY BOROVA Casting Contributor
PAT McCORKLE, CSA KATJA ZAROLINSKI, CSA McCORKLE CASTING, LTD.
Time and Place: Present Day. Mostly in a house in the suburbs of a large city.
This production will be performed in two acts with one intermission.
PLEASE TURN OFF ALL CELL PHONES. NO TEXTING. NO EATING IN THE THEATRE. Aubergine is presented by special arrangement with Dramatists Play Service, Inc., New York. Playwrights Horizons, Inc., New York City, produced the New York City Premiere of Aubergine in 2016. The videotaping or making of electronic or other audio and/or visual recordings of this production or distributing recordings on any medium, including the internet, is strictly prohibited, a violation of the author’s rights and actionable under United States copyright law. * Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States
SPONSORS
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Photo by Jennie Warren
THE PLAYWRIGHT Julia Cho
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ulia Cho is an American playwright and television writer of Korean descent living in Los Angeles. Cho was born in Los Angeles in 1975 to Korean immigrants—her mother a nurse and her father an aerospace engineer— and lived in Arizona for a time growing up. Cho is an alumna of the Juilliard School and New York University’s Graduate Dramatic Writing Program. She also attended Amherst College and the University of California, Berkeley. A prolific writer and resident playwright with the New Dramatists (a playwright center and new play laboratory) from 2004 to 2011, Cho’s plays include the Susan Smith-Blackburn award-winning The Language Archive, as well as Durango (winner of the Barrie and Bernice Stavis Playwriting Award), The Piano Teacher, The Winchester House, BFE, The Architecture of Loss, and 99 Histories. Cho’s plays have been produced in New York City and at regional theatres around the country. She has also written episodes for television, including shows such as Big Love and Fringe.
Cho took a break from playwriting after the death of her father in hospice, in 2010, but was brought back to the art by a commission from the Berkeley Repertory Theatre to write a short play about food. Though the assignment was simple, Cho soon found that she was
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writing about the feelings of loss and sadness she had been trying to avoid. “I think had I sat down to write a play about grief and loss, there would be no way…That doesn’t sound fun at all,” Cho said. “But by sitting down and thinking about food, it was this weird trick. I had tricked myself and didn’t even know it! And it was probably the only thing that allowed me to write.” Cho’s hiatus appears to be at an end: Aubergine premiered at Berkeley Repertory Theatre in 2016 and was quickly followed by The Office Hour at South Coast Repertory. Cho’s longtime colleague, director Neel Keller, says of Cho’s new works, “She feels like a more experienced writer now, in that she can let the stories and the characters lead her… there seems to be a real presence of life and the fickleness of life, in good ways and bad— the flow and uncontrollability of life.”
Betsy Brandt and Leo Marks in Julia Cho’s The Language Archive at South Coast Repertory
IN HER WORDS On diversity in theatre... “For theater—or any art form—to thrive, I think it needs to reflect and engage with the society and culture it springs from. And making theater more inclusive, more diverse, definitely does just that. It has wakened me up in a really wonderful way. I, like so many people, can sink into feeling powerless. But these movements [such as #MeToo and #TimesUp] show that you can change the world, that it’s changing right now.” On the origin of her plays... “I’m drawn to the ‘what ifs’. Sometimes an image sticks in the back of my head and there’s a spot that bothers me … that’s where a play comes from. Usually a small memory or an event. And the what ifs.” On personal growth... “I’m grateful to be where I am. I know how difficult it is to get produced, and I feel enormously lucky to have worked at such amazing theaters. But I think there is also always a kind of dissatisfaction with my own writing. I want to be better—not just as a writer, but as a person. I want to know more, feel more, imagine more. … I continuously feel like a beginner. With each new play I sit down and have no idea how to write it. It always feels like there is so much to learn; it’s endless. It’s the work of a lifetime.”
Comprehension: How did writing about one thing (namely, food) help Cho write about other experiences and feelings in her life? Reflection: How does creating or experiencing art help you to process your experiences and emotions? How do you connect with others through art?
THE PLAY SETTING
Modern day. The majority of the action takes place in a house in the suburbs of a large city. The main characters also explore other locations through memory: a restaurant, a hospital, a kitchen, a living room, a cafe, a backyard, a funeral and a graveyard.
Taking care of his dying Father during the final stages of his life, Ray struggles to reconcile memories from his past with a direction for his future. Ray’s process is an exploration of memory, food, culture and grief.
THE CONFLICT
LOCATIONS MENTIONED France
Seoul, Korea Jeolla-do Province, Korea Seoul Map of France
Jeolla-Do Province
Map of South Korea
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THE CHARACTERS Ray’s Grandmother: Older. Korean. Food memory: Cooking the best food around for her sons, friends and neighbors.
Denotes Off-stage character Denotes Relative Denotes Friendship Denotes Acquaintance
Cornelia’s Parents Korean-American. Food memory: Giving Cornelia the best parts of the fish at dinner.
Ray’s Mother KoreanAmerican. Died in a car accident while on a visit home. Food memory: Having a cold fried chicken dinner with the family before traveling to Korea.
Uncle (played by Song Kim) Late 50s. Korean. Comes to the US to give his sick brother special soup. Food memory: Watching his mother make mooguk soup for his brother before he left Korea.
Ray’s Father (played by Glenn Kubota) Late 60s. Born in Korea, lived in America for almost four decades. A former soldier and hard worker who enjoys simple, straightforward meals. Food memory: Having picnic meals in the forest with his friends in Korea.
Cornelia (played by Eunice Bae) 28. Korean-American. Born in Korea, raised mostly in America. Works at the same restaurant as Ray. Food memory: Collecting mulberries in the backyard with her father.
Ray (played by Tony Nam) 38. Korean-American. Born in America. A French-trained chef who quit his job to care for his ailing father. Food memory: Cooking an elaborate, painstaking meal for his father.
Diane (played by Megan Anderson) 40. American. Has a complex relationship with food from haute cuisine to standard fare. Food memory: A pastrami sandwich made by her father before a critical surgery.
Lucien (played by Jefferson A. Russell) 40s. A naturalized citizen who was once a refugee. A hospice nurse who seems to always know what to do. Food memory: Eating okra he had grown after coming to the United States.
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TIMELINE
FOOD-CENTRIC PLAYS OF THE LAST 100 YEARS.
1932
Dinner at Eight, by Edna Ferber and George S. Kaufman, chronicles the Jordan family in their preparation of a society dinner and the myriad obstacles they encounter along the way. The play was adapted to a 1933 film of the same name, and has been revived on Broadway twice since its original 1932-1933 run.
1966
There’s A Girl In My Soup, by Terence Frisby, is a British comedy and became the longest-running play in London’s West End. It tells the story of a dashing and charming television chef who develops a romantic relationship with a woman many years his junior.
1979
The Art of Dining, by Tina Howe, showcases the high-stakes conflict of a couple who have converted their home into a restaurant, as they hope to increase their cash flow to repay an impressive loan. Three groups of characters visit their restaurant, each with distinctly different, but equally unusual, relationships with food.
1993
The Food Chain, by Nicky Silver, is the story of Amanda, a new bride who, in the midst of contending with an eating disorder, must face that her husband has gone missing. Conversely, we meet Otto, who mourns a complicated romantic relationship by overeating. The play follows the stories of both characters until we see how their lives, despite differences, intersect.
2000
Fully Committed, by Becky Mode, is a one-act, one-man play, boasting forty different characters who are tackled by a single actor. This seriously entertaining comedy depicts an out-of-work actor who maintains the reservation line at a top restaurant in Manhattan, treating the audience to many riotous encounters with diners and outrageous phone calls alike.
2013
I Love to Eat, by David Friscic, is another one-man play, comically offering a window into the life of famed chef, James Beard. During the performance, the actor prepares an entire meal that is shared with lucky members of the audience. A production of this piece ran at Round House Theatre in Bethesda, MD in 2012.
2014
The Whale, by Samuel D. Hunter, is the story of a man named Charlie and his struggle with obesity and reclusiveness. As his health declines, he is desperate to redeem his relationship with his daughter, from whom he has been estranged for years. The play ran at RepStage, in 2015, featuring Everyman Resident Company Member, Megan Anderson.
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Soldiers gathered in Seoul in 1948 to celebrate the birth of South Korea. Credit Associated Press
KOREAN WAR, A ‘FORGOTTEN’ CONFLICT THAT SHAPED THE MODERN WORLD By Liam Stack, The New York Times
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he Korean War has been called “the Forgotten War” in the United States, where coverage of the 1950s conflict was censored and its memory decades later is often overshadowed by World War II and the Vietnam War.
But the three-year conflict in Korea, which pitted communist and capitalist forces against each other, set the stage for decades of tension among North Korea, South Korea and the United States. It also helped set the tone for Soviet-American rivalry during the Cold War, profoundly shaping the world we live in today, historians said. As present tensions between North Korea and the United States continue to mount amid missile tests and taunts, here is a brief guide to the Korean War and the impacts that linger more than 60 years after its end. How did the Korean War start? The Korean War began when North Korean troops pushed into South Korea on June 25, 1950, and it lasted until 1953. But experts said the military conflict could not be properly understood without considering its historical context. Korea, a Japanese colony from 1910 until 1945, was occupied by the United States and the Soviet Union at the end of World War II. The United States proposed EVERYMAN THEATRE | 8
temporarily dividing the country along the 38th Parallel as a way to maintain its influence on the peninsula, which bordered Russia, said Charles K. Armstrong, a professor of Korean history at Columbia University. “A divided Korea was something unprecedented,” he said. But the divide lasted in part because of competing visions among Koreans for the country’s future. “Fundamentally it was a civil war, fought over issues going back into Korea’s colonial experience,” said Bruce Cumings, a professor of history at the University of Chicago. In 1948, the American-backed, anti-communist southern administration, based in Seoul, declared itself the Republic of Korea. It was led by Syngman Rhee, who lived in exile in the United States for many years and was installed as the South Korean leader by the Office of Strategic Services, a predecessor to the Central Intelligence Agency, Professor Cumings said. Soon after, the Soviet-backed, communist northern administration, based in Pyongyang, declared itself the Democratic People’s Republic of Korea. Its leader was Kim Il-sung, who fought alongside communist forces during the Chinese civil war and was the grandfather of North Korea’s current dictator, Kim Jong-un. Each regime was unstable, rejected the legitimacy
of the other and considered itself to be Korea’s sole rightful ruler. Border skirmishes between the two were frequent before the Korean War began. Who were the combatants? The war pitted South Korea and the United States, fighting under the auspices of the United Nations, against North Korea and China. Other nations contributed troops, too, but American forces did most of the fighting. “The South Korean Army virtually collapsed” at the start of the war, Professor Cumings said. The Soviet Union supported North Korea at the beginning of the war, giving it arms, tanks and strategic advice. But China soon emerged as its most important ally, sending soldiers to fight in Korea as a way to keep the conflict away from its border. The Chinese leader, Mao Zedong, also saw China’s participation in the war as a way to thank Korean Communists who fought in the Chinese civil war, Professor Cumings said. “There was a lot of field contact between American and Chinese forces,” Professor Armstrong said. “In a sense, this was the first and only war between China and the United States, so far.” How damaging was it? The war devastated Korea. Historians said that between three million and four million people were killed, although firm figures have never been produced, particularly by the North Korean government. As many as 70 percent of the dead may have been civilians. Destruction was particularly acute in the North, which was subjected to years of American bombing, including with napalm. Roughly 25 percent of its prewar population was killed, Professor Cumings said, and many of the survivors lived underground by the war’s end. “North Korea was flattened,” he said. “The North Koreans see the American bombing as a Holocaust, and every child is taught about it.” Damage was also widespread in South Korea, where Seoul changed hands four times. But most combat took place in the northern or central parts of the peninsula around the current Demilitarized Zone, which divides the countries, Professor Cumings said.
How did it end? Technically, the Korean War did not end. The fighting stopped when North Korea, China and the United States reached an armistice in 1953. But South Korea did not agree to the armistice, and no formal peace treaty was ever signed. “There is still a technical state of war between the combatants,” Professor Cumings said. Neither North nor South Korea had achieved its goal: the destruction of the opposing regime and reunification of the divided peninsula. Since 1953 there has been an uneasy coexistence between North and South Korea, which hosts over 20,000 American troops. At one time hundreds of American nuclear weapons were based there. “It was from the Korean War onward that we had a permanent, global American military presence that we had never had before,” Professor Armstrong said. Other countries that host American troops include Qatar, Japan, Italy and Germany. “It was a real turning point for America’s global role.” In the decades after the war, South Korea transformed into an economic powerhouse. Professor Cumings said many of its citizens now know little about the conflict and have “a fatalistic orientation” toward the economically isolated North. Meanwhile, North Korea became “the world’s most amazing garrison state with the fourth largest army in the world.” “Its generals are still fighting the war,” Professor Cumings said. “For them it has never ended.”
Comprehension: What were the effects of the Korean War on Korea as a country? Why is the Korean War also called “The Forgotten War”? Reflection: How has this war impacted our current political climate?
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The Korea Times New York Staff. Photo credit: The Korea Times
FOR KOREANS, THE ISSUE IS ASSIMILATION, NOT IMMIGRATION Reflections from TaeHun Kim, author of War With Pigeons
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aeHun Kim is an American, through and through.
A successful executive and attorney with a good education, he lives the American Dream every day, but he also knows that there is another side to being Korean-American, in which it is very difficult to claim complete assimilation into American life. He shares:
“For Koreans in America, there is a strong sense of wanting to be Americans and make the most of the freedom and opportunity for success that America has to offer,” said Kim, author of War With Pigeons (astorytelling.com), a novel that chronicles how Korean families from different classes live together as Americans, as it peels back the veil of the hidden Korean society that exists outside the view of non-Koreans. “But there is another side to being a Korean in America—an enduring adherence to the long-standing traditions of a Korean class system characterized by an aristocratic sector that rules over a working class population—and if you’re not Korean, you’d never know it’s there.” The parameters for legitimacy and social standing have evolved over the past few decades, he added, as the traditional emphases on pedigree of birth and education have given way to the unprecedented wealth EVERYMAN THEATRE | 10
accumulated by many in connection with South Korea’s rapid economic development. Koreans in America are typically eager to be legal citizens, according to Kim, in order to gain that additional stamp of “legitimacy” which is so critical to their standing in the Korean community. “In the U.S., less than 9 percent of the illegal immigrant population comes from Asian countries, with Koreans making up a small percentage of that small percentage,” Kim said. “The reason is that the Korean class system is based on social standing in the community which in turn depends on legitimacy, whether in the traditional context of birth or education or the more recent context of industrial success. It’s extremely difficult to take part in it if you are here illegally, because you would lack the requisite legitimacy.” There is a generational rift inherent in the Korean immigrant population, however, that Kim believes is making it difficult for either the older or newer generations to completely assimilate to life as Americans. “On the one hand, the original émigrés from Korea came here wanting to be Americans, to live in the land of opportunity, to learn English and be part of society,” he said. “But the hardships they faced, undoubtedly similar to those faced by other immigrants groups, coupled with the language and cultural barriers have created a hidden infrastructure in the Korean community. Many of the old guards still hold true to certain traditions steeped in the class structure, and it is even possible
to live and work within that community without ever having to learn English. The entire business and social structure is built as it exists in Korea.” On the other hand, the newer immigrants proceed from a sense of entitlement that is fostered by a number of factors. First the newer immigrants are often from wealthier backgrounds and “the land of opportunity” appears much less charitable to them than they did to their predecessors. In addition, they are coming to the States at a time when the earlier sense of gratitude to the US for its role in the Korean War has given way to more negative views on the US’s participation in international affairs. Finally, the growing prominence of Koreans on the world stage—whether in the context of the Olympics, the World Cup, or the manufacturing of automobiles and electronics—is creating a sense of pride in just being Korean.
KOREAN IMMIGRANT POPULATION IN THE UNITED STATES, 1980-2015
Source: Data from U.S. Census Bureau 2006, 2010, and 2015 American Community Surveys (ACS), and Campbell J. Gibson and Kay Jung, “Historical Census Statistics on the Foreign-born Population of the United States: 1850-2000” (Working Paper no. 81, U.S. Census Bureau, Washington, DC, February 2006),
“The younger generation has no problem adopting more Western attitudes regarding their outward lifestyle and ignoring the old traditions,” Kim said. “They may ignore many of the more archaic elements of their heritage, but they still see themselves as Koreans first, and may adopt a more combative ‘us against them’ mentality when it comes to other groups.”
TOP DESTINATION STATES FOR KOREAN IMMIGRANTS IN THE UNITED STATES, 2011-2015
Kim believes the combination of these pressures, from the older generation to the younger one, will continue to force Korean Americans to live just outside of the mainstream. “It makes us neither fish nor fowl,” he said. “In many cases, some Koreans don’t feel terribly connected to their home country, but they never truly feel like Americans, either. They are somewhere in the middle, torn between the extremes of the inner circles of the many Korean communities around America and the forces of westernization and modernization that are inherent in living and working as American citizens. It’s been this way for decades, and I’m not sure it’s going to change any time soon.”
Comprehension: What is the root of the generational differences in Korean born immigrant populations? Reflection: Where do we see these tenets dramatized in Aubergine? Source: MPI tabulation of data from U.S. Census Bureau pooled 2011-15 ACS.
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Kimchi Fried Rice. Photo courtesy of Song Kim.
WHAT AMERICANS CAN LEARN FROM OTHER FOOD CULTURES By Amy S. Choi
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ood feeds the soul. To the extent that we all eat food, and we all have souls, food is the single great unifier across cultures. But what feeds your soul?
For me, a first-generation Korean-American, comfort food is a plate of kimchi, white rice, and fried Spam. Such preferences are personally meaningful—and also culturally meaningful. Our comfort foods map who are, where we come from, and what happened to us along the way. Notes Jennifer 8. Lee (TED Talk: Jennifer 8. Lee looks for General Tso), “what you want to cook and eat is an accumulation, a function of your experiences— the people you’ve dated, what you’ve learned, where you’ve gone. There may be inbound elements from other cultures, but you’ll always eat things that mean something to you.” Jennifer Berg, director of graduate food studies at New York University, notes that food is particularly important when you become part of a diaspora, separated from your mother culture. “It’s the last vestige of culture that people shed,” says Berg. “There’s some aspects of maternal culture that you’ll lose right away. First is how you dress, because if you want to blend in or be part of a larger mainstream culture the things that are the most visible are the ones that you let go. With food, it’s something you’re engaging in hopefully three times a day, and so there are more opportunities to connect to memory and family and place. It’s the hardest to give up.”
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Food as identity The “melting pot” in American cuisine is a myth, not terribly unlike the idea of a melting pot of American culture, notes chef Dan Barber (TED Talk: How I fell in love with a fish). “Most cultures don’t think about their cuisine in such monolithic terms,” he says. “French, Mexican, Chinese, and Italian cuisines each comprise dozens of distinct regional foods. And I think “American” cuisine is moving in the same direction, becoming more localized, not globalized.” American cuisine is shaped by the natural wealth of the country. Having never faced agricultural hardship, Americans had the luxury of not relying on rotating crops, such as the Japanese, whose food culture now showcases buckwheat alongside rice, or the Indians, or the French and Italians, who feature lentils and beans alongside wheat. “That kind of negotiation with the land forced people to incorporate those crops in to the culture,” says Barber. And so eating soba noodles becomes part of what it means to be Japanese, and eating beans becomes part of what it means to be French. So if what we eat is what we are, what are Americans? Well, meat. “If Americans have any unifying food identity, I would say we are a (mostly white) meat culture,” says Barber. “The protein-centric dinner plate, whether you’re talking about a boneless chicken breast, or a 16-ounce steak, as an everyday expectation is
something that America really created, and now exports to the rest of the world.” Every single culture and religion uses food as part of their celebrations, says Ellen Gustafson, co-founder of the FEED Project and The 30 Project, which aims to tackle both hunger and obesity issues globally. (Watch her TED Talk: Obesity + hunger = 1 global food issue.) “The celebratory nature of food is universal. Every season, every harvest, and every holiday has its own food, and this is true in America as well. It helps define us.” Food as survival Sometimes food means survival. While the Chinese cooks who exported “Chinese” food around the world ate authentic cooking at home, the dishes they served, thus creating new cuisines entirely, were based on economic necessity. Chinese food in America, for example, is Darwinian, says Lee. It was a way for Chinese cooks to survive in America and earn a living. It started with the invention of chop suey in the late 1800s, followed by fortune cookies around the time of World War II, and the pervasive General Tso’s Chicken, in the 1970s. Waves of more authentic Chinese food followed, as Hunan and Sichuan cooking came to the U.S. by way of Taiwan.
Cultural Revolution don’t know how to cook. “That generation was focused purely on studying, and their parents never taught them how to cook,” says Mo. “So they’re very educated, but they’re eating takeout or going back to their parents’ homes for meals.” Food as status Those slightly younger people have been the beneficiaries of the restaurant culture exploding in Shanghai. The city is home to 23 million people, and has more than 100,000 restaurants, up from less than ten thousand a decade ago. Now, you can find food from all of the provinces of China in Shanghai, as well as every kind of global food style imaginable. The introduction of global foods and brands has compounded food as a status symbol for middle-class Chinese. “Food as status has always been a huge thing in China,” says Mo. “Being able to afford to eat seafood or abalone or shark’s-fin or bird’s-nest soup, or being able to show respect to a VIP by serving them the finest yellow rice wine, is part of our history. Now it’s been modernized by having different Western foods represent status. It could be a Starbucks coffee, or Godiva chocolates, or a Voss water bottle. It’s a way of showing your sophistication and worldliness.” Eating is done family style, with shared dishes, and eating is the major social activity for friends and families. Eating, exchanging food, taking photos of food, uploading photos of food, looking at other people’s photos of food — this is all a way that food brings people together in an urban center. Even waiting in line is part of the event. People may scoff at the idea of waiting two hours in line to eat in a trendy restaurant, says Mo, but waiting in line for a restaurant with your friends is an extension of your experience eating with them.
General Tso’s Chicken
In Chinese cities, meanwhile, only grandparents are cooking and eating the way that people from outside of China might imagine “Chinese” food. The older generation still would shop every day in the wet market, bargain for tomatoes, then go home that night and cook traditional dishes, says Crystyl Mo, a food writer based in Shanghai. But most people born after the
How and why you eat your food, is, of course, also very cultural. In China, people eat food not necessarily for taste, but for texture. Jellyfish or sliced pig ear don’t have any taste, but do have desirable texture. Foods must either be scalding hot or very cold; if it’s warm, there’s something wrong with the dish. At a banquet, the most expensive things are served first, such as scallops or steamed fish, then meats, then nice vegetables, and finally soup, and if you’re still hungry, then rice or noodles or buns. “If you started a meal and they brought out rice after the fish, you’d be very confused,” says Mo. “Like, is the meal over now?” Continued on next page AUBERGINE PLAY GUIDE | 13
Food as pleasure “Food in France is still primarily about pleasure,” says Mark Singer, technical director of cuisine at Le Cordon Bleu in Paris. “Cooking and eating are both past time and pleasure.” The French might start their day with bread, butter, jam, and perhaps something hot to drink—“There’s no way that it would expand to eggs and bacon,” says Singer—but it’s a time of the day when the whole family can be united. Singer, who was born in Philadelphia, has lived in France for more than 40 years. (He doesn’t eat breakfast.) “Things have changed dramatically in the past 20 years when it comes to food in the country,” he says. “What was a big affair with eating has slowly softened up. There are still events in the year, like birthdays and New Year’s Eve and Christmas Eve that still say really anchored into traditional food and cooking. But it’s not every day.” Some of the ideas of French food life may be a performance, adds Berg. “I led a course in Paris this summer on myth-making and myth-busting and the performance of Frenchness. The students want to believe that France is this pastoral nation where people are spending five hours a day going to 12 different markets to get their food. The reality is most croissants are factory made, and most people are buying convenience food, except for the very elite. But part of our identity relies on believing that mythology.” How a country savors a food is also telling. In Italy, as in France, takeout is still relatively rare. “Eating fast is not at all part of our culture,” says Marco Bolasco, editorial director of Slow Food and an Italian food expert. Our meals are relaxed, even during lunch break.” Food in Italy is love, then nutrition, then history, then pleasure, he says. An Italian child’s first experience with food is not buns or rice or eggs, but probably ice cream, notes Bolasco. Status and wealth play less of a role in food than say, in China. Food as community In Arab cultures, community is key to the food culture. The daily iftar that breaks the fast during Ramadan, for example, features platters of traditional fare such as tharid and h’riss that are shared by all who are sitting down to break the fast, eating with their hand from the same dishes. Families and institutions will host private iftars, of course, but mosques, schools, markets and other community organizations will also offer large iftar meals, and all are open to the public and shared. This
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family style of eating is not dissimilar to the dishes on a Chinese dinner table, where one does not eat a single portioned and plated dish, but is expected to eat from shared, communal platters.
A typical Bangladeshi Iftar spread. Photo by Serena Maria Daniels
Food as humanity Perhaps cuisine, though, isn’t so much about progress as it is about restraint. “One of the great things about cuisine is that it the best way to hold back our worst kind of hedonism,” says Barber. “There is no landscape in the world that sustainably allows us to eat how we think we want to.” In another sense, says Barber, food is the physical manifestation of our relationship with the natural world. It is where culture and ecology intersect. It can become even more important than language, and even geography, when it comes to culture. “Your first relationship as a human being is about food,” says Richard Wilk, anthropology professor at the University of Indiana and head of its food studies program. “The first social experience we have is being put to the breast or bottle. The social act of eating, is part of how we become human, as much as speaking and taking care of ourselves. Learning to eat is learning to become human.”
Comprehension: How do traditional dishes connect immigrants to their mother cultures? How do landscapes affect what foods are associated with a particular culture? Reflection: How have your family’s food traditions changed over generations? Do you or your parents cook or eat anything different from the foods of your grandparents or older generations?
FOOD AS SYMBOL
Food holds power to transport, connect and represent in Aubergine. What do the following food symbols mentioned in Aubergine represent to you in the context of the story?
YOUR THOUGHTS...
Use this space to jot down any thoughts that arise before, during, and/or after the performance. You can bring this with you to the theater and log your thoughts during intermission or on the bus after the show. Then, bring this to the Post-Show Workshop to share with a guest artist.
I was surprised by/when…
The most memorable scene was when… because...
I was impacted most by the scene where...
I was confused by… or I wonder why...
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GRIEF: COPING WITH THE LOSS OF YOUR LOVED ONE From the American Psychological Association
C
oping with the loss of a close friend or family member may be one of the hardest challenges that many of us face. When we lose a spouse, sibling or parent our grief can be particularly intense. Loss is understood as a natural part of life, but we can still be overcome by shock and confusion, leading to prolonged periods of sadness or depression. The sadness typically diminishes in intensity as time passes, but grieving is an important process in order to overcome these feelings and continue to embrace the time you had with your loved one.
Human beings are naturally resilient, considering most of us can endure loss and then continue on with our own lives. But some people may struggle with grief for longer periods of time and feel unable to carry out daily activities. Those with severe grief may be experiencing complicated grief. These individuals could benefit from the help of a psychologist or another licensed mental health professional with a specialization in grief.
Everyone reacts differently to death and employs personal coping mechanisms for grief. Research shows that most people can recover from loss on their own through the passage of time if they have social support and healthy habits. It may take months or a year to come to terms with a loss. There is no “normal� time period for someone to grieve. Don’t expect to pass through phases of grief either, as new research suggests that most people do not go through stages as progressive steps.
Grieving individuals may find it useful to use some of the following strategies to help come to terms with loss:
If your relationship with the deceased was difficult, this will also add another dimension to the grieving process. It may take some time and thought before you are able to look back on the relationship and adjust to the loss.
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Moving On With Life Mourning the loss of a close friend or relative takes time, but research tells us that it can also be the catalyst for a renewed sense of meaning that offers purpose and direction to life.
Talk about the death of your loved one with friends and colleagues in order to understand what happened and remember your friend or family member. Denying the death is an easy way to isolate yourself, and will frustrate your support system in the process. Accept your feelings. People experience all kinds of emotions after the death of someone close. Sadness, anger, frustration and even exhaustion are all normal. Take care of yourself and your family. Eating well, exercising and getting plenty of rest help us get through each day and move forward.
Reach out and help others dealing with the loss. Helping others has the added benefit of making you feel better as well. Sharing stories of the deceased can help everyone cope. Remember and celebrate the lives of your loved ones. Possibilities include donating to a favorite charity of the deceased, framing photos of fun times, passing on a family name to a baby or planting a garden in memory. What you choose is up to you, as long as it allows you honor that unique relationship in a way that feels right to you. If you feel stuck or overwhelmed by your emotions, it may be helpful to talk with a licensed psychologist or other mental health professional who can help you cope with your feelings and find ways to get back on track. How Psychologists Can Help Psychologists are trained to help people better handle the fear, guilt or anxiety that can be associated with the death of a loved one. If you need help dealing with your grief or managing a loss, consult with a psychologist or other licensed mental health professional. Psychologists can help people build their resilience and develop strategies to get through their sadness. Practicing psychologists use a variety of evidence-based treatments — most commonly psychotherapy — to help people improve their lives. Psychologists, who have doctoral degrees, receive one of the highest levels of education of any health care professional.
HOSPICE CARE Considered to be the model for quality, compassionate care for people facing a lifelimiting illness or injury, hospice care involves a team-oriented approach to expert medical care, pain management, and emotional and spiritual support expressly tailored to the patient’s needs and wishes. Support is provided to the patient’s loved ones as well. At the center of hospice and palliative care is the belief that each of us has the right to die pain-free and with dignity, and that our families will receive the necessary support to allow us to do so. Hospice focuses on caring, not curing and in most cases care is provided in the patient’s home. Hospice care is also provided in freestanding hospice centers, hospitals, nursing homes and other long-term care facilities. Hospice services are available to patients of any age, religion, race, or illness. Hospice care is covered under Medicare, Medicaid, most private insurance plans, HMOs, and other managed care organizations.
EXTENSION PROJECT
Make a connection to the design elements of the play and become the Props Master... The Properties Master, often called “Props Master,” is the artistic and organizational employee in a theatrical production who is responsible for purchasing, acquiring, creating, properly placing, and/or overseeing any props needed for a production. A prop, formally known as (theatrical) property, is an object used on stage by actors during a performance. In practical terms, a prop is considered to be anything movable or portable on a stage or a set. These are distinctly separate from the actors, scenery, costumes, and electrical equipment used for lighting and sound. Now, it’s your turn! Think about the props used in this production. Make a list of the top 5 props used and respond to the following questions: •
Which props stood out to you the most and why?
•
What materials do you think were used in their creation?
•
What was each prop’s use?
•
Were any of the props especially meaningful and/or symbolic? Explain your thinking.
•
Design your own prop. Create a rendering and give a rationale as to why it should be used in the production. AUBERGINE PLAY GUIDE | 17
CURTAINS UP ON CAREERS:
SET DESIGNER
Interview with Misha Kachman
Where are you from, originally, and when did you first develop an interest in theatre? I was born and raised in what was technically Leningrad, USSR (it’s now St. Petersburg, Russia). I grew up as what one would describe as a classicallytrained studio artist, and didn’t make a decision to go to a theatre school to study design (as opposed to going to the Fine Arts Academy to continue my training as a pure painter and graphic artist) until late in high school. When and why did you decide to pursue theatre, professionally? How has your background shaped your career path? I decided to be a designer while I was in high school, and I was deeply influenced by two close family friends who were my artistic mentors when I was a teenager. They both were career production designers for film and TV. Define the Set Designer’s responsibilities, what is the scope of that work in relation to bringing a story to life on stage? Set Designers’ responsibilities can be defined in two ways which are not mutually exclusive—1) very narrowly: to create a safe and convenient workplace for actors on which the play can be successfully executed; 2) quite broadly: to deliver an evocative visual response to the broad poetic and emotional themes of the story.
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How do you find work as a Set Designer? What other work do you do outside of traditional theatre? [I established my career] mostly through personal connections and thanks to the professional reputation that had been developed over the years… There is a number of directors for whom I am a go-to designer. I also work with an agent, but that’s not something that I would recommend to a young designer. I am also a tenured professor at University of Maryland. What skills are necessary to being a Set Designer? Painting, drawing, drafting (computer and handdrafting), model-making, ability to deal with space and scale. You also have to be familiar with scenic technologies (production processes, rigging, state-ofthe-art materials and techniques, automation, scenic painting, digital media etc.). Being a very organized individual is a must, otherwise you won’t work. How do you connect to Aubergine? I lost my mother last year under circumstances eerily reminiscent to what takes place in the play. What challenges does this piece present for you? Any fun facts or insider tidbits you can share that you want to draw our patron’s attention to? Scenic design is at its core alway site-specific—a site being a theatrical venue. Designing a set so that it
works equally well in two different venues is always a huge challenge. (Editor’s Note: Being a co-production, Aubergine required a design that would function effectively at both Everyman Theatre and Olney Theatre Center.) This production features interplay between the Set Designer and a Projection Designer? How did you work together to incorporate your two mediums for Aubergine?
Become a real artist with your own vision and ideas, first, and learn the pertinent technical skills, second— otherwise you get overwhelmed by technical training and lose your voice. Also, try to shadow/attach yourself to a designer who you really admire. Ask that person to accept you as an apprentice.
Quite smoothly! My job was to design the set in such a way that allows for the digital media to live on it organically. What is a play you would love to Set Design for? Speaking of my most recent work, I am very proud of my work with director Yury Urnov on Kiss, at Woolly Mammoth Theatre in DC, and at The Red Torch Theatre in Novosibirsk, Russia. I would love to design Richard Wagner’s opera, The Flying Dutchman. What advice might you give someone interested in pursuing the profession of Set Design?
A model of the Aubergine set presented at the first rehearsal.
POST-SHOW DISCUSSION Use these questions as a launchpad for conversation... Production •
“Co-Pro” is the term referring to a performance that is co-produced by two separate theatres. Aubergine is considered a co-pro between Everyman Theatre and Olney Theatre Center. What do you think are the benefits to sharing a production like this one? What might be the challenges?
•
How do the design elements work together to create a sensory experience for the audience?
Character •
Ray, Ray’s Father, and Cornelia all represent very different placements on the spectrum of assimilation into American culture. What might successful assimilation look like? In your opinion, which character has assimilated the most successfully and how?
•
What is the nature of Ray and Ray’s Father’s relationship? How does it evolve over the course of the play?
•
While Lucien works as Ray’s Father’s caretaker, what role does Lucien serve to Ray?
•
What personal connections can you make to these very real-life people and challenges dramatized on stage?
Theme & Content •
How is this play reflective of memory-making in its story structure?
•
If grief is a process, how is it represented in this play?
•
What is the value of food for each character, and how are these relationships to food represented as “windows” into each character’s soul? AUBERGINE PLAY GUIDE | 19
GLOSSARY abalone: Edible mollusk similar to mussels or oysters with a chewy texture and buttery, salty taste.
gombo: Another name for the okra plant. SEE OKRA.
aloof: Not friendly or forthcoming; cool, distant.
head cheese: Sausage made from parts of a pig’s head cured and stuffed in cow lungs or pig stomachs.
artisanal: A product, particularly food or drink, made with a traditional, non-mechanized method.
hospice: Residential or home care for the very sick or terminally ill.
ascites: A medical condition in which fluid collects between the lining of the abdominal wall and the lining of internal organs, causing painful swelling.
infamous: Well known for a bad quality or deed.
aubergine: Another name for eggplant, an edible fruit related to the tomato with purple or white skin, known for its hardiness and versatility. bedsores: Injuries to the skin sustained by prolonged pressure, as when someone is in bed for a long period of time; found mainly on bony parts of the back like the shoulders, heels, and tailbone. catheter: A thin, flexible tube made of medical-grade plastic. A catheter may be used for many purposes such as draining of bodily fluids or administration of drugs into the body. cirrhosis: Permanent scarring of the liver resulting in liver disease or failure, often caused by overuse of alcohol or diseases like Hepatitis B or C.
IV: Abbreviation for intravenous therapy, by which fluids or medicines are delivered directly into the bloodstream through a catheter. Jelloa-do: A historical province in southwest Korea, currently divided into the North Jeolla and South Jeolla provinces of South Korea. John the Baptist: A Jewish traveling preacher in the early first century AD revered as a saint and prophet in Christianity, Judaism, and Islam; Jesus Christ’s cousin. kaput: Slang for broken, done, or finished. kimchi: A traditional Korean dish made from salted, spiced, and fermented vegetables, usually napa cabbage, radishes, and root vegetables. ko-deung-oh mu-jo-rim: A Korean soup involving mackerel fish and oxtail.
conscripted: Having been made to enlist in the armed forces by law, such as a draft.
K-Town: The area of a city where many Korean immigrants or Korean-Americans might settle.
Costco: An American chain of membership-only warehouse stores distinguished by bulk purchases.
mandu: Korean dumplings that may be steamed, boiled, or fried.
el Bulli: A Michelin 3-star restaurant near the town of Roses, Catalonia, Spain, run by chef Ferran Adrià, known for experimental, molecular gastronomy and its remote location.
Medicare: The tax-financed, or single-payer, federally administered health insurance program in the United States that covers all citizens.
enmity: The state or feeling of being actively opposed or hostile to someone or something; the feeling between enemies. Ensure: A brand of nutritional drink. figs: Commonly thought to be fruits, figs are the edible blossoms of the fig plant that may be eaten fresh, dried, or in a number of preparations. frugal: Sparing or economical in terms of food or finance. gallivanting: Going around from one place to another in pursuit of pleasure. Geisha: A traditional female, Japanese hostess who entertains her guests with music, dance, and conversation. Geisha have distinctive white face makeup with dark brows and red lips. EVERYMAN THEATRE | 20
Michelin Guide: Hotel and restaurant guide books published by the French tire company, Michelin. To be reviewed for the guide is a mark of prestige and class. molecular gastronomy: A branch of food science that investigates the physical and chemical changes in food ingredients during cooking. morphine: A narcotic drug used to treat severe pain. mulberries: Berries similar to raspberries or blackberries with a sweet and tart flavor. okra: The edible seed pods of the okra plant, distinguished by its green color, oblong shape, fibers, and gooey cooked texture. omakase: A Japanese phrase meaning “to entrust” or “I’ll leave it up to you” used in sushi restaurants when a guest leaves their meal up to the chef’s choice of dishes.
pastrami: A deli cut usually made from beef or mutton that is brined, partially dried, seasoned, smoked, then steamed. Pastrami has a strong taste complemented by its peppery edges. prosciutto: Italian dry-cured ham served uncooked and thinly sliced. rancid: A food high in fat or oil that has gone stale or rotten and has an unpleasant taste or smell. samurai: A class of military nobility in medieval Japan who followed a strict code of honor in service to a ruling lord. savoriness: A salty, rich flavor or quality in food, contrasted with sugary or sweet flavors. sea cucumber: Marine animals with a leathery skin and an elongated body found on the seafloor. Raw or dried sea cucumber is found in various cuisines and is thought to have medicinal properties in some cultures. Seoul: The capital city of South Korea known for its vast size and population, high tech architecture and infrastructure, and its history.
stoic: Enduring pain or suffering without complaint; quiet, strong. sullongtang: Korean ox bone soup made from ox bones, brisket, and other cuts simmered over a long period with seasoning of salt, ground black pepper, red pepper, minced garlic, or chopped spring onions. tent city: A temporary housing structure or community made from tents or shanties usually constructed by refugees or people experiencing homelessness. Tom Keller: Chef at renowned restaurant The French Laundry in Yountville, CA and the only Americanborn chef to hold multiple three-star ratings from the prestigious Michelin restaurant guide. vigilance: The action or state of keeping careful watch for possible danger or difficulties. widow, widower: A woman or man, respectively, whose spouse has died. Yountville: City in the Napa Valley of California, a region known for wine making and fine dining.
sinewy: Lean, tough, and muscular. sous vide: Pronounced pronounced sue-veed. A cooking technique in which food is sealed in plastic or glass and submerged in water to cook for a long period at a stable temperature.
GRADES 9-12 EVERYMAN THEATRE
TEEN PERFORMANCE SUMMER STUDIO
SUMMER CAMPS
SIX-DAY CAMPS July 9-14 | ONE-DAY WORKSHOPS June 30, July 14, 21, 28 Designed for all levels of theatre artist, our unique 6-day camp experience concentrates on the student’s chosen focus (musical theatre or stage performance). Select a focus, explore the craft, and integrate skills into a special showcase at the culmination of the week.
IT'S NOT TOO LATE FOR SPRING! TEEN PERFORMANCE STUDIO: MUSICAL THEATRE DANCE April 14-May 19 | 4:30-6:30 Embrace the dance break in this fun and energetic look at storytelling through motivated movement. Warm up and learn sequences to different genres of musical theatre each week.
LEARN MORE & REGISTER:
everymantheatre.org/education 443.615.7055 x7142 | education@everymantheatre.org
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DEEPER DIVE
Take a closer examination of the world of Aubergine by visiting these resources: More on American Immigration… http://bit.ly/IAPlayGuide-WSJComingToAmerica http://bit.ly/IAPlayGuide-LOCImmigration http://bit.ly/IAPlayGuide-ImmigrationToNYC http://bit.ly/IAPlayGuide-birth-of-illegal-immigration http://bit.ly/IAPlayGuide-NYT-immigration On grief and healing: https://www.huffingtonpost.com/jinna-yang/10-things-i-learned-while_b_5923558.html On grief disorders and complicated grief: http://www.nytimes.com/2009/09/29/health/29grief.html On health implications of Korean War: https://www.koreanwar.org/html/bbs_army_2.html?threadid=709 Asian Literature exploring the Korean Immigration Experience: http://guides.rcls.org/c.php?g=128388&p=841763 Korean American Experiences: http://www.bbc.com/news/world-us-canada-12888908
SOURCES
Sources used to curate this Play Guide include... https://www.nytimes.com/2018/01/01/world/asia/korean-war-history.html?rref=collection%2Ftimestopic%2FKorean%20War&action=click&contentCollection=timestopics&region=stream&module=stream_unit&version=latest&contentPlacement=4&pgtype=collection https://en.wikipedia.org/wiki/Dinner_at_Eight_(play) https://dcmetrotheaterarts.com/2012/10/24/i-love-to-eat-at-round-house-theatre-by-david-friscic/ SamuelFrench.com http://aapress.com/arts/books/for-koreans-the-issue-is-assimilation-not-immigration/ https://www.migrationpolicy.org/article/korean-immigrants-united-states http://www.apa.org/helpcenter/grief.aspx https://www.nhpco.org/about/hospice-care
THIS PLAY GUIDE CREATED BY Brianna McCoy, Director of Education Lisa Langston, Education Program Manager Brenna Horner, Lead Teaching Artist Abigail Cady, Education Apprentice Katherine Marmion, Graphic Designer
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EVERYMAN THEATRE IS LOCATED AT 315 W. Fayette St. Baltimore, MD 21201 Box Office 410.752.2208 Administration 443.615.7055 Email boxoffice@everymantheatre.org
EDUCATION DEPARTMENT If you have questions about the Play Guide, contact our Education Department at education@everymantheatre.org or 443.615.7055 x7142
THEATRE ETIQUETTE When you come and see a play, remember to...
Respectfully enjoy the show. While we encourage you to laugh when something is funny, gasp if something shocks you, and listen intently to the action occurring, please remember to be respectful of the performers and fellow audience members. Please turn off or silence all electronic devices before the performance begins. There is no texting or checking your cell phone during the show. The glow of a cell phone can and will be seen from stage. Photography inside the theatre is strictly prohibited. Food and drinks are not allowed in the theatre. Food and drinks should be consumed in the Everyman lobby before or after the show, or during intermission. Be Present. Talking, moving around, checking your phone, or engaging in other activities is distracting to everyone and greatly disrupts the performance’s energy. Stay Safe. Please remain seated and quiet during the performance. Should you need to leave for any reason, reentrance to the theatre is at the discretion of the house manager. In case of an emergency, please follow the instructions shared by Everyman staff members. Continue the conversation. After your performance, find Everyman Theatre on Facebook, Twitter, and Instagram and use #bmoreeveryman to tell us what you thought!
CURRICULAR TIE-INS From the stage to the classroom...
COMMON CORE STATE STANDARDS CCSS.ELA-LITERACY.RL.11-12.2 Determine two or more themes or central ideas of a text and analyze their development over the course of the text, including how they interact and build on one another to produce a complex account; provide an objective summary of the text. CCSS.ELA-LITERACY.RL.11-12.3 Analyze the impact of the author's choices regarding how to develop and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the characters are introduced and developed). CCSS.ELA-LITERACY.SL.11-12.1 Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 11-12 topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively.
CCSS.ELA-LITERACY.SL.11-12.1.C Propel conversations by posing and responding to questions that probe reasoning and evidence; ensure a hearing for a full range of positions on a topic or issue; clarify, verify, or challenge ideas and conclusions; and promote divergent and creative perspectives. NATIONAL CORE ARTS STANDARDS Anchor Standard #6. Convey meaning through the presentation of artistic work. Anchor Standard #7. Perceive and analyze artistic work. Anchor Standard #8. Interpret intent and meaning in artistic work. Anchor Standard #11. Relate artistic ideas and works with societal, cultural and historical context to deepen understanding.
DESIGN YOUR OWN PRODUCTION IMAGERY For each production at Everyman, our Marketing Department works with artist Jeff Rogers to create imagery that conveys a visual story. What story does the Aubergine artwork on the cover convey? Now it’s your turn! Think about the play Aubergine and design a new image/artwork to brand the show. Keep in mind, this image could be used on posters, advertisements, billboards, television, internet, etc. Share it with us on social media using #bmoreeveryman.
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