International Theatre Series

FALL 2007 progams

International theatre series

Adelheid Roosen
Photo courtesy of the Artist

Adelheid Roosen / Veiled Monologues & Is.Man (Netherlands)

Join us for an evening with Dutch playwright and director Adelheid Roosen. The American/English Language Premieres of Veiled Monologues and Is.Man will be performed in repertory at St. Ann’s Warehouse in Dumbo, Brooklyn this fall. Short video excerpts and readings from the plays will be followed by a discussion with Adelheid Roosen, Dalia Bosiouny and Heather Ruffo (Nine Parts of Desire), TBC.

Veiled Monologues is a vital, surprising, and poetic portrait of love and relationships under Islam. Created from the collected testimonies of women born and raised in Saudi Arabia, Kuwait, Somalia, Pakistan, Iran and Iraq, Veiled Monologues intermixes live music, dance and film to create intimate portraits of Muslim women living in Holland. The production is “of a rare intensity. It feels like a privilege to actually look into the depths of a Muslim woman…” (De Telegraaf)

Is.Man unveils the secretive world and complex motivations that underlie honor killings in some Muslim societies. Based on her interviews with men convicted of the crime in Holland, Roosen has created “a gripping story” (DeTelegraaf) about three generations of men struggling with namus, a family’s honor in relation to the sexual integrity of its women. This compassionate play will “destroy your hearts as the night progresses [and] … leave you shivering from head to toe.” (De Groene Amsterdammer)

Adelheid Roosen is a remarkable actress/performer who has worked in stage, TV and film. She was one of the performers in the Dutch version of The Vagina Monologues, from which she developed the idea for Veiled Monologues (2003), which has been performed across Europe and the Middle East and in a nationwide televised version in Dutch parliament at the height of one of the debates on constitutional rights regarding religious minorities in Holland in 2003. In 2005 she launched the Zina Platform that gives a voice to Arab, Turkish and Kurd artists. In 1988 she won the Proceniumprice for Tergend Langzaam, Wakker Worden/Waking Up Painstakingly Slowly based on the play Clara S. by Elfride Jelinek.

6:30 p.m., Wednesday, Oct. 10, 2007 Martin E. Segal Theatre. Free!

Aida Karic / Trojan Women: An Asian Story (Bosnia, Korea)

Join us for an evening with Aida Karic, readings from her play Trojan Women: An Asian Story and a discussion with Randy Gener and Alfred Preissler.

The Trojan Women by Euripides and true stories based on the exploitation of “comfort women” in Korea during WWII is the backdrop for this production presented Oct. 18-21 at the Kasser Theater, Peak Performances @Montclair State University. Director Aida Kari and the The Wuturi Players, based in Seoul, Korea, combine the play about the constellation of defeated and defeaters, of humiliated vs. victors with facts of recent history. The long tradition of sexual violence against women in war reveals itself in all its bitterness, as well as the consternation and silence of the victims in their life thereafter. The production incorporates historical and biographical texts and the narrative form of the Pansori opera. Produced at the Schauspielhaus Vienna in 2006.

Aida Karic was born in the former Yugoslavia and has been living and working in Vienna since 1992. Karic studied Publicity and Theatre Science at the University of Vienna and while in school she worked on a documentary short film, was employed in theatre and film administration and was involved in war communications, propaganda and media positioning. For Schauspielhaus Vienna, Karic participated and co-authored Jerusalem My Love (2002) and in 2003 Karic conceptualized and directed 1914.

Randy Gener is a New York City-based writer, critic, playwright and editor. Gener is the senior editor of American Theatre, a monthly magazine published by TCG, Theatre Communications Group.

Alfred Preisser is the Artistic Director and co-founder of the Classical Theatre of Harlem. The mission of CTH is to create a home for the classics of world theatre in Harlem, New York.

6:30 p.m. Monday, Oct. 15, 2007 Martin E. Segal Theatre. Free!

The Trojan Women
The Wuturi Players
Photo courtesy of The Wuturi Players

Kazuo Ohno / Butoh Theatre Screenings (Japan)

This screening is the first of two parts of the New York Butoh Festival Film Series. The second part will be shown at Anthology Film Archives on November 4. This program is dedicated to Butoh dance's co-founder, Kazuo Ohno, born 1906, and is comprised of videos he gave over a quarter century to John Solt, poet and scholar of Japanese avant-garde culture. The day-long festival features extremely rare footage that spans three decades of live and outdoor performances by Kazuo Ohno and his son, Yoshito Ohno—from the Mr. O trilogy of the early 1970s to The Palace Soars through the Sky of 1993. Brief remarks and an audience Q &A with John Solt will follow each video. Moderated by New York Butoh Festival co-founder, Jeff Janisheski.

Kazuo Ohno (born 1906) is the co-founder, along with Tatsumi Hijikata (1928- 86), of the contemporary Japanese style of dance known as butoh. In contrast to Hijikata, who created large-scale work that explored the darkness of life, Ohno’s solos and duets explored the light: “Take care of life, yours and others” is how he summed up his dance philosophy. A prolific writer and a deeply passionate teacher, he has performed and taught in Europe, Asia and the U.S. to great acclaim. In 1999 he received the Michelagelo Antonioni Award for the Arts; and in 2004 Wesleyan University Press published in English a collection of his writings, Kazuo Ohno's World: From Without & Within.

John Solt is a poet and independent scholar who has been Associate-in- Research at the Edwin O. Reischauer Institute of Japanese Studies at Harvard University since 1990. He was among the first to introduce Kazuo Ohno and butoh to USA academia in the early 1980s, and produced—in collaboration with Jeff Janisheski—the first Kazuo Ohno video festivals in Massachusetts in the early 1990s. To commemorate Ohno’s centenary, Solt’s www.highmoonoon. com is holding six video festivals—three in Bangkok (Thammasat University, Mahidol University, Butoh-Coop Thailand), one in Kyoto (Doshisha University), one in Massachusetts (Amherst College) and this finale in New York (Martin E. Segal Theatre Center).

Jeff Janisheski has trained in butoh since 1989 (including three years with Kazuo Ohno) and in Japanese noh theatre since 1992; he is also the co-founder of the New York Butoh Festival. He has directed at the Cherry Lane Theatre, Classic Stage Company and New York Theatre Workshop Studio in New York and is Associate Artistic Director at Classic Stage Company.

The New York Butoh Festival celebrates the origins and international evolution of butoh in a biennial festival of performances, workshops, films and lectures. The New York Butoh Festival is a program of CAVE Organization, one of the longest running experimental art spaces in Williamsburg, Brooklyn. www.CAVEartspace.org

Kazuo Ohno
Photo by Frank Ward

CAVE

Kazuo Ohno: Three Decades of Butoh Dance on Film (Japan)

Afternoon Screenings: 1 p.m. - 6:00 p.m.

Mandala of Mr. O. (1971), 15 minutes
Mr. O's Book of the Dead (1973), 90 minutes
These are selections from the second and third films in the legendary and rarely seen trilogy of Mr. O films featuring Kazuo Ohno, directed by Chiaki Nagano.

Kazuo Ohno (1982), 55 minutes
Excerpts from a documentary made for Swiss television, with French narration.

Ishikari no hanamagari: Michiyuki (The Hook-nosed Salmon of Ishikari) (1991), 65 minutes
Filmed by Kazu Tanabe, this video documents Kazuo and Yoshito Ohno's 1991 outdoor performance in Hokkaido, Japan.

Butoh: Ohno Kazuo no sekai (The World of Kazuo Ohno: From Divinarianes by Jean Genet) (1996), 30 minutes
Video of site-specific performances by Ohno. Beautifully shot, with a hypnotic score featuring Ravel's Bolero score.

Irie Hirozen saiten (1995), 5 minutes
In a small gallery Ohno dances with various objects, including the items on exhibit. He dances to synthesizer music and Elvis Presley tunes, showing his versatility and humor.

Evening Screenings 7 p.m. - 9 p.m.

Kaidan wo oriru tsuru (The Crane Descending the Stairs) (1990), 37 minutes
Filmed by Kazu Tanabe, this video documents Ohno improvising in a rural hospital in Japan.

Roten ni okeru Ohno Kazuo butoh koen (1992), 20 minutes
Excerpts from a video by Hideya Muraoka documenting Ohno’s dance inspired by the "Wolf Exhibit" of woodblock-print artist Ryu Oshima. Ohno dances in front of the prints and becomes the wolf.

Goten sora wo tobu (The Palace Soars through the Sky) (1993), 35 minutes
Clips from a massive, site-specific performance in a warehouse in Yokohama for an audience of over 1,000 people. Performers include Ohno, Akiko Motofuji (wife of Tatsumi Hijikata) and others.

Thursday, Oct. 25, 2007 Martin E. Segal Theatre. Free!

Theresia Walser / Our Forests Haven't Been This Wild in Forever (Germany)

Join us for an evening with German playwright Theresia Walser. Readings from Our Forests Haven't Been This Wild in Forever directed by Tea Alagic will be followed by a discussion with Theresia Walser, Anne Midgette, Tom Sellar, Jonathan Kalb and Thomas Bockelmann. In collaboration with the Goethe- Institute, New York. Moderated by translator Claudia Wilsch Case.

Theresia Walser is one of Germany’s most frequently produced living playwrights and has received numerous playwriting awards incl. the Schiller Prize. Her plays have been produced across Europe. Our Forests Haven’t Been This Wild in Forever established her as one of Germany’s most prominent playwrights. Her most recent plays include The Final List and A Little Calm Before the Storm.

Tea Alagic has directed in Prague, New York, London, and Berlin. This fall she is directing The Brothers Size at the Public Theater. She is the recipient of a Soros Fellowship and a recent graduate of the Yale School of Drama.
Thomas Bockelmann is the Artistic Director of the Kassel State Theatre, Germany, where he produced Theresia Walser’s Our Forests Haven’t Been This Wild in Forever in 2004. He has produced or directed over 40 plays in Germany.
Claudia Wilsch Case is Assistant Professor of Theatre at Lehman College, City University of New York. Her translations of contemporary German plays have been published in Theater magazine and TheatreForum.
Jonathan Kalb is Professor of Theatre at Hunter College and at the CUNY Graduate Center. His work has appeared in scholarly journals and in the New York Times, The Nation, and the Village Voice. He is the author of Beckett in Performance and the first general study in English on Heiner Müller.
Anne Midgette regularly reviews classical music, opera and theatre for the New York Times and has also written for many other publications. She is currently working on a book about the woman who built pianos for Beethoven.
Tom Sellar is editor of Theater magazine, published by the Yale School of Drama, where he is Assistant Professor of Dramaturgy and Dramatic Criticism. He is a frequent contributor to the Village Voice and other national publications.

6:30 p.m., Monday, November 5, 2007 Martin E. Segal Theatre. Free!

Theresia Walser
Photo courtesy of the Artist

Cave Symposium: Perspectives on the Origins and Legacy of Butoh (Japan)

Presented by CAVE New York Butoh Festival in collaboration with The Martin E. Segal Theatre Center, the symposium is an integral part of the month-long New York Butoh Festival, in October 2007, and consists of two programs: the Segal Center Symposium and the CAVE Artist Talks.

The symposium will give perspectives on the origins and legacy of Butoh and trace the sources and the ongoing legacy of the avant-garde dance form that emerged in post-World War Two Japan as ankoku butoh (literally "dance of darkness"). Lectures by three prominent critics, scholars and artists will offer an in-depth look at butoh by giving historical context to its emergence with a focus on butoh co-creators Hijikata and Ohno.

The New York Butoh Festival (Oct 21-Nov 21, 2007) celebrates the origins and international evolution of butoh in a biennial festival of performances, workshops, films and lectures. The New York Butoh Festival is a program of CAVE Organization, one of the longest running experimental art spaces in Williamsburg, Brooklyn. www.CAVEartspace.org

Sondra Fraleigh is Professor Emeritus of Dance and Somatic Studies at the State University of New York at Brockport. She is the co-author of Hijikata Tatsumi and Ohno Kazuo (2006) and author of Dancing into Darkness: Butoh, Zen, and Japan (1999). Her innovative choreography has been seen in theatres in New York, Germany, and Japan, and she is the founding director of Eastwest Somatics Institute for the study of movement therapy and dance.

Yukio Waguri was born in Tokyo in 1952. In 1972, he became the pupil of Tatsumi Hijikata. He established his own group Yukio Waguri + Kohzensha, releasing solo and group dance works in Tokyo. He has also inherited and developed Hijikata's method, which evokes body image through language. He is known for his solid and lithe body, beautiful shape, and expressive power.

Tatsuro Ishii is a dance critic and Professor at Keio University in Tokyo. He writes dance reviews for the Japanese newspaper Asahi Shimbun, Dance Magazine, and others. He is the author of such books as The Spirit Journey of the Body Expression, Sexuality of Transvestism, Essays on Female Transvestism, The Climactic Point of Body, etc. He has served as the Judge of Cairo IE Theatre Festival Egypt (2002), Director of Butoh Festival in Seoul, Korea (2005), and Judge of Toyota Choreography Award (2006).

2:00 p.m. - 8:30 p.m., Monday, November 12, 2007 Martin E. Segal Theatre. Free!

Lectures

Sondra Fraleigh	2:00 - 3:00 p.m.
An Introduction to Butoh's Founders: Hijikata and Ohno

Sondra Fraleigh tells the story of the founding of butoh through the partnership of Tatsumi Hijikata and Kazuo Ohno, as she weaves its aesthetic development with the social and political issues of post-World War II Japan. She paints a vivid portrait of each individual: Hijikata, an artist keenly aware of the strictures of society who wanted to uncover the dance already happening in the body; and Ohno, who survived nine years as a soldier in World War II, danced into his nineties, and became one of the most beloved figures in the contemporary dance world.

Yukio Waguri	4:00-5:30 p.m.
Introduction to Butoh Choreography: Hijikata's Butoh-fu from Waguri's Notebooks
Yukio Waguri will share his exploration of the nature of butoh choreography, with its intense physicality and deep relationship to poetry and the visual arts. Butoh-Fu is a system that Waguri has developed directly from the words and choreography of his teacher, Tatsumi Hijikata. Sometimes sounding like poetry, each word or phrase represents a specific movement and its relationship to the body.

Tatsuro Ishii	7:00-8:30 p.m.
The International Spread of Butoh: Body as Object
Butoh originated and developed in its formative period as an experimental, underground movement. In the 1970s, after only two decades of work, butoh began to gain the acclaim and interest of the international dance scene. Why did this occur? The body of the ankoku butoh dancer may be linked to Asian shamanistic traditions. From this perspective, one can understand why the butoh body has been sought after and embraced across the world. Tatsuro Ishii will discuss various aspects of butoh as they relate to Shamanistic traditions in Asia. Though butoh was born within the limited historical and artistic context of 1950s and 1960s Japan, it has carried with it certain universal aspects of the body that permeate ancient traditions of the body in Asia.


Photos (Left to Right): Sondra Fraleigh, Yukio Waguri, Tatsuro Ishii All photos courtesy of the artists

José Pliya / Cannibals (Benin, France, Guadeloupe)

Join us for an evening with French playwright José Pliya. Excerpts from his play Cannibals will be read by three actresses, and directed by Robert Lyons, artistic director of the Ohio Theater. A discussion with Ellen Lampert-Gréaux and Philippa Wehle will follow the reading. José Pliya will speak about his work, highlighting his work as the director of Artchipel, the National Theater of Guadeloupe. Introdution by Dr. Philippa Wehle, Professor Emeritus of Contemporary Drama and French, Purchase College, SUNY.

José Pliya
Photo courtesy of the Artist

Cannibals, by José Pliya (translated by Ellen Lampert-Gréaux and Philippa Wehle) takes the form of a conversation among three women who meet in a park. They have never met before. Gathered around a blue baby carriage, they talk about the loss of their children in circumstances real and imagined. The carriage itself is empty. Whose carriage is this? Whose child? Who are these women, and why have they come together?

José Pliya was born in Cotonou, Benin, West Africa in 1966. Play-wright, actor, director, and teacher, he holds a doctorate in Modern Literature from the University of Lille, where he also taught. Artistic director of Écritures Théâtrales Contemporaines en Caraibe (Contemporary Caribbean Playwriting) and former director of the Alliances Françaises of Dominica and Cameroon, Pliya is the author of numerous plays, several of them published by L'Avant- Scène Théâtre, in its Quatre Vents collection. His plays have been produced in major French theaters such as La Comédie Française (Les Effracteurs, 2004); Cannibales (Théâtre National de Chaillot, 2004), Une Famille Ordinaire at the Théâtre de l'oeuvre, in 2004 and Le Complexe de Thénardier at the Théâtre du Rond-Point Champs Elysées, in 2002 and again, at the Lucernaire Theater in 2005. In 2005, José Pliya was appointed artistic director of l'Artchipel, the National Theatre of Guadeloupe, French West Indies.

Soho Think Tank strengthens, nurtures, and promotes an aesthetically and culturally diverse community of independent theatre artists and theatre companies by producing, presenting, and programming new work at the Ohio Theater, in Soho.

6:30 p.m., Thursday, December 6, 2007 Martin E. Segal Theatre. Free!

Rodrigo García / La Carniceria Teatro (Argentina, Spain)

Join us for an evening with renowned theatre artist Rodrigo García premiering his piece Accidens (matar para comer) in New York City. The performance is written and directed by Rodrigo García, and performed by Juan Loriente. A Q & A with the artists will follow. Initiated and co-produced by Bertie Ferdman.

ACCIDENS is a performance lasting 25 minutes without words. La Carnicería Teatro proposes one action, cruel and heart-rending, that is simply a reflection of our own reality. Rodrigo García writes: “Normally, things come already dead. You go to the supermarket and they give you everything dead. ... One has to have a lot of imagination—and I lack it—to tremble in the face of death while opening a can of meatballs at home in the kitchen.”

Rodrigo García, born 1964 in Argentina and currently living in Spain, is not only "the author of texts that burst like bombs;" he is also a videographer, performer, and director. An atypical artist, he combines in his performances elements from the past and from contemporary popular culture. Together with his company La Carnicería Teatro (literally The Butcher Theatre), Garcia develops a complex and astonishing theatrical language where bodies in motion trace the new rituals of the everyday. Garcia's great strength is in the work's integrity and in its ability to passionately stir the ideas and emotions moving the young generation, who wholeheartedly appreciates his corrosive and intelligent shows. Rodrigo García's productions have been featured, among others, at: Festival Avignon, Teatro per la musica di Roma, Festival de Salamanca, Teatro Nacional de Bretagne, Teatro Nacional de Annecy, Comédie de Valencia, Sitges Festival Nacional, Théâtre de la Ville-Paris, and Chaillot. His works have been translated to English, French, Italian, Finnish, Danish, and Polish.

Instituto Cervantes is a worldwide not-for-profit organization created by the Spanish government in 1991. Its mission is to promote the teaching, study and use of Spanish as a second language, and to contribute to the advancement of the Spanish and Hispanic American cultures throughout non-Spanish speaking countries.

6:30 p.m., Monday, December 10, 2007, Martin E. Segal Theatre. Free!

		Accidens Company La Carniceria Teatro Photo courtesy of Rodrigo García
		Rodrigo García Photo courtesy of the artist

The Art of Yiddish Drama - Modernity Confronts Tradition

Please join us for an interdisciplinary panel discussion on the place of Yiddish drama in world theatre, as well as staged readings of scenes from modern English adaptations of three neglected plays by Sholom Asch; With the Current (Mitn Shtrom), I.D. Berkowitz Under the Cross (Untern Tzelem), and Peretz Hershbein The Amulet ( Af Yenem Zayt Taykh). Presented in collaboration with Ellen Perecman, Producing Executive Director, New Worlds Theatre Project, New York with the generous support of the Center for Jewish Studies, Frances Degen Horowitz (Jack H. Skirball Interim Director).

Panelists include: Rachel Dickstein (Artistic Director of Ripetime) Daniel Gerould (Lucille Lortel Distinguished Professor of Theatre and Comparative Literature, Ph.D. Program in Theatre, CUNY Graduate Center); Stefan Kanfer (Author of Stardust Lost: The Triumph, Tragedy, and Mishugas of the Yiddish Theater in America (Knopf), and former writer and editor at Time); Neil Pepe (Artistic Director of the Atlantic Theatre Company); Alyssa Quint (Professor in Program in Judaic Studies, Princeton University and Managing Editor, Jewish Studies Quarterly); and Alisa Solomon (Director, Arts & Culture, M.A. Program, Columbia University Graduate School of Journalism and theatre critic for the Village Voice and other publications).

This event will also celebrate the publication of a volume of New Worlds Theatre Project's English adaptations of these and other Yiddish plays, which have never before been performed or published in English.

Afternoon screenings 2:00 p.m. - 5:00 p.m. (Excerpts TBC):

A Vilna Legend (Dem Rebns Koyekh, reissue of Tkies Kaf / The Vow, 1924)
USA 1933 60 minutes B&W Yiddish narration with English subtitles. Director: Zygmund Turkow.
Based on a play by Peretz Hershbein.

The Yiddish King Lear (Der Yidisher Kenig Lir)
USA 1935 86 mintues B&W Yiddish with English subtitles. Director: Harry Thomashefsky.
Based on a play by Jacob Gordin

Green Fields (Grine Felder)
USA 1937 95 minutes B&W Yiddish with NEW English subtitles. Directors: E. Ulmer and Jacob Ben-Ami

The Singing Blacksmith (Yankl der Schmid)
USA 1938 B&W 95 minutes Yiddish with English subtitles Director: Edgar G. Ulmer.
Based on a play by Dovid Pinski.

6:30 p.m., Tuesday, December 18, 2007, Martin E. Segal Theatre. Free!

Romeo Castellucci / Societas Raffaello Sanzio (Italy)

Join us for an evening with Italian director Romeo Castellucci, one of the superstars of contemporary European visual theatre. The idea for this new play, Hey Girl!, came to him while stopped at an intersection, where he saw a group of girls waiting for their buses. In this piece Castellucci examines through a language of gesture the inner workings of the mind of a teenage girl. In Castellucci's masterful hands, nuance is everything: a nod, a finger pointed, a raised eyebrow, or a moment of recognition. What is her destiny? Who summons her to appear? Hey girl! performs Feb. 7-10, 2008 at the Kasser Theater, Peak Performances @Montclair State University.

Societas Raffaello Sanzio: Romeo Castellucci along with Chiara Guidi and Claudia Castellucci make up the artistic core of Societas Raffaello Sanzio, the theatre company they founded in 1981. The name they assigned to the company partly reflects their artistic education.

Romeo Castellucci (b.1960) has obtained diplomas in Painting and Scenography at the Academy of Fine Arts; Claudia Castellucci obtained the diploma in Painting and Chiara Guidi is graduated in Arts, with specialization in Art History. Raffaello is the Renaissance painter (Raphael) who combines the perfection of the shape with the inquietude of a world which is quickly losing its reference points; therefore he is the witness to a dramatic tension and a dynamics of technique that are trends always present in the company's works.

6:30 p.m., Wednesday February 6, 2008, Martin E. Segal Theatre. Free!

		Romeo Castellucci Photo courtesy of the Artist
Company of Societas Raffaello Sanzio Photo by Francesco Raffielli		Company of Societas Raffaello Sanzio Photo by Francesco Raffielli

henry ong / sweet karma-Haing S. Ngor Foundation / ITP (cambodia, USA)

Join us for a reading of Sweet Karma by Henry Ong, directed by Marcy Arlin, an “InterPLAY of Art and Biography.” Followed by a discussion with the playwright and Jack Ong, Executive Director of the Los Angeles based Dr. Haing S. Ngor Foundation, on questions of the relationship between biography, art and theatre; survivor guilt and genocide; spirituality and the Cambodian tragedy as exemplified in the life of Dr. Ngor. In collaboration with Immigrants' Theatre Project, supported by the The Dr. Haing S. Ngor Foundation and the DCA.

Sweet Karma is based on the life of Dr. Haing S. Ngor, a survivor of the Cambodian holocaust and the celebrated Oscar-winning actor of The Killing Fields, who was fatally shot in the streets of Los Angeles. In the play, set in the afterlife, Haing encounters a mysterious Woman who insists on helping him review his life. Is this cosmic retribution or sweet karma?

Marcy Arlin is a New York-based director and the founder, in 1988, of the Immigrants' Theatre Project. Immigrants' Theatre Project was created to present professional theatre about the American and international immigrant experience and received the 2003 OBIE for innovative theatre. Using traditional and experimental theatre forms, ITP has premiered over 400 plays and worked with theatre artists from over 90 nations/ethnicities.

Henry Ong is the author of Madame Mao’s Memories, a play which has been produced internationally and nationally, including the Old Globe Theatre in San Diego and TheatreWorks in Singapore. Fabric, Ong’s docudrama about the Thai garment workers slavery case, was produced by Singapore Repertory Theatre in Singapore and Nomad Theatre in Surrey, England. A ten-time recipient of the City of Los Angeles Cultural Affairs Department grants, Ong is a member of the Dramatist Guild, the Alliance of Los Angeles Playwrights, Playwrights Ink, and an Artistic Associate of Playwrights’ Arena.\

The Dr. Haing S. Ngor Foundation has the primary mission to develop programs fostering diversity and multicultural understanding through education, activism and the arts. The Foundation is also committed to preserving the legacy of Dr. Haing S. Ngor and his human rights work in Cambodia and America, as well as the history of those who survived the genocidal regime of Pol Pot and the Khmer Rouge (1975-1979). (www.haingngorfoundation.org)

The New York City Department of Cultural Affairs provided additional funding.

6:30 p.m., Monday, Feb. 25, 2008 Martin E. Segal Theatre. Free!

Henry Ong
Photo courtesy of the artist

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