6 minute read
Ready Let’s Go
BY ANNIE YEE
During the start of the pandemic, my husband Stan Egi and I sheltered in place, taking care of our health and that of family and friends. We waited for the world to heal from COVID and much racial division. As an Asian American I feared daily for my safety with the continued anti-Asian violence. I also missed theatre—seeing and doing shows, collaborating with the director and creatives, creating choreography, working with actors and dancers in rehearsals—all of it so much. I’m the choreographer who loves tech and brings lots of snacks to share. To keep up my skills I continued my ballet classes every Sunday on Zoom, watched plays from around the country on Zoom, researched theatres, and read plays I wanted to choreograph and came up with ideas for them. I have my dance bag ready!
After a year and a half, I was so excited when theatres began to open up again, and we were getting closer to a return. I was concerned because of COVID-19, yet I really wanted to get to work and be back in the theatre, where I love to be and feel most at home. Then it happened: I was blessed when I was asked to choreograph a show at the Fountain Theatre—a theatre that is dedicated to racial equity and moving onward with its Cultural Equity and Inclusion Statement— which was producing AN OCTOROON, directed by Judith Moreland, on a brand-new outdoor stage created for COVID-19 safety. The entire company and staff followed AEA rules and were all fully vaccinated and tested weekly. The theatre’s safety protocols were also approved by SDC before I was to start work. I had the AGMA/SDC Return to Stage and Performing Arts Playbook, created by a panel of scientists, that I could refer to, and I attended the “COVID-19: A Collective Response” webinars about returning to work safely.
In the dance studio I wore two masks during rehearsals, with windows and doors open, air conditioning and air filters on. I felt safe and ready to start. A wonderful part of the production was that the creative team and cast reflected my hometown of Los Angeles in its diversity and heritages. This company made me feel included, invigorated, and proud. It felt great to be back.
I am feeling more hopeful as more theatres commit to diversity, inclusion, and equity plans, which will give me and others more opportunities for work on a variety of shows—shows that will be open to all. I had this hopeful feeling when I was asked to choreograph AN OCTOROON, a show I may not have been seen as a typical candidate for.
Vanessa Claire Stewart, Leea Ayers + Hazel Lozano in AN OCTOROON at The Fountain Theatre, choreographed by Annie Yee
PHOTO Jenny Graham
I love my culture immensely and feel fortunate when I can continue to share this passion in productions such as M. BUTTERFLY, KING OF THE YEES, and THE WORLD OF EXTREME HAPPINESS, all directed by Desdemona Chiang; THE GOLDEN DRAGON, directed by Michael Michetti; and MADE IN BANGKOK, directed by Robert Egan. Yet I feel I have been seen primarily as a Chinese/Asian choreographer who specializes in Chinese dance/movement and Chinese opera. My training and dance performance background are also in Western dance, with additional work in circus skills and puppetry. For AN OCTOROON, I got the chance—a dream chance—to use my knowledge of many different forms of dance and go even further with new ideas and styles. I got to create dance and movement for popular culture, the Indigenous Peoples Fancy Dance with coup sticks, vogue fem, hula, and tap. I loved it and was excited at each rehearsal to share each of these dance forms.
This feeling of getting an opportunity for any type of show is something many don’t always get to be a part of. I am optimistic that these flashes of shimmering hope will continue, grow stronger, and be the “new normal.” A chance for all to be seen, to be heard, and to be a part of the American theatre—which is an actual part of my history, starting with my mom.
My mom, Nancy Yee, was a theatre and radio actress in Hong Kong. After my parents raised our family in Los Angeles, she returned to acting in film and television, and was a company member of Cornerstone Theater Company, performing in shows at the Mark Taper Forum, Los Angeles Theatre Center, and John Anson Ford Theatre. She took me to my first show at the Music Center when I was nine, and that’s when I fell in love with theatre and dance. Our family went to a variety of theatrical productions, including opera, dance performances, and cultural shows. My mom enrolled me in ballet, jazz, tap, hula, and Chinese dance. She told me to learn all styles of dance and dances of all cultures. My mom was fearless and encouraged me to always try and go for it because, she said, “What have you got to lose?” I’m trying my best to have her courage and strength. Her inspiration and love are my driving force and super power.
Annie Yee dancing with her mother Nancy Yee in LIGHTEN UP with Cornerstone Theatre at the Hsi Lai Buddhist Temple in Los Angeles
PHOTO c/o Annie Yee
I feel encouraged that in the future my dream of equitable opportunities of work will continue this way, with me being seen as a choreographer of anything. I love to pull from all my experiences, training, and research to create dance and movement that is true and authentic to each character and to the story, and moves everything forward. In the past, I would look at all the theatres and their seasons, hoping there was a show that I could be a part of. Now, as I look at new future seasons, I am encouraged by the diversity of stories, playwrights, and creatives, where many more will be included in the conversation. This is exciting to me—I have a lot of ideas!
Annie Yee performing a Thai dance that she choreographed for MADE IN BANGKOK at Mark Taper Forum
PHOTO Jay Thompson
I’m pulling for a future that will be bright. I look forward to seeing theatres fully execute plans that will create space for all, beginning with their general staff, artistic staff, and boards of directors—for an inclusive community to come together and tell all stories. I can’t wait for more audiences to come to the theatre and see representations of themselves on stage and through their stories and, most of all, to feel welcomed.
Annie Yee is an award-winning choreographer, performer, and daughter of Tommy and Nancy Yee. Her choreography can currently be seen in DETAINED at The Fountain Theatre.
