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cahwyguy
Revisals. The process where the book of a musical (and occasionally a play) is reworked to update the story, potentially remove problematic or outdated material, and to fix things that really didn’t work. Sometimes these reworks are light, such as the rework of Sweeney Todd to have the actors play their own instruments or dramatically downsize the set of players, or the rework of West Side Story to include more lyrics in Spanish. Sometimes they are more significant, such as the rework of Cats that is currently on Broadway: Cats: The Jellicle Ball. Sometimes they are successful, and sometimes they aren’t. Sometimes they change very little, and yet are very controversial. An example of this is the recent revival of Oklahoma, which was a stripped down version of the musical that retained all the words, but made the presentation much darker. There were those who got what was being done and loved it. There were those that hated it.
Oklahoma brings us to the second relevant aspect of this little discourse: Rogers and Hammerstein. The main stage shows of this dynamic duo fall into three groups (I’m excluding the two shows done primarily for the large and small screen: State Fair and Cinderella). There are the shows that became clear classics: Oklahoma, South Pacific, and The Sound of Music. There are the shows in the middle that are problematic today for various reasons: The King and I, Carousel, and Flower Drum Song. Lastly, there are the shows that are rarely performed today, and that were generally not all that successful: Allegro, Me and Juliet, and Pipe Dream.
The first tier of shows seem frozen. With the exception of the aforementioned Oklahoma, there haven’t been attempts to radically revisit these shows to expose unseen aspects. The Sound of Music is currently on tour; I don’t expect the staging to be any different from the regional production I saw last year at 5-Star Theatrical, or the versions one sees in a community theatre. What can you do with The Sound of Music? How do you improve on that show? South Pacific is similar: there are a few more stereotypes in that show, but those are accurate for the time, and the point made by that show remains applicable.
The last tier of shows are begging for rework and revival. Allegro was the most successful of the bunch, but really hasn’t been revived except for one Encores version. Similarly with Pipe Dream. All need rework to fix the problems that doomed them in the first place.
This brings us to the middle tier. The King and I suffers from a major stereotype problem: Although the music is beautiful, the portrayal of the Siamese kingdom is offensive today both in the style of speech and how the people are viewed. It also is deeply entrenched in the “white savior” problem, and that may be incurable. Carousel has a major problem with domestic violence against women. Although the story is strong, it would likely require rework to be acceptable today. That leaves Flower Drum Song. FDS was successful when first released, but over time has become a problem. The penultimate show by the duo, it suffered from a very stereotypical view of the Asian-American community (not surprising, as it was written by two white guys), and has not aged well. The movie version wasn’t a classic, and the show has seen few revivals due to the portrayal problem. Read the summary of the 1958 plot on Wikipedia, and the problems become clear.
According to Wikipedia, after seeing the mid-1990s revival of The King and I, playwright David Henry Hwang got the idea to rework and revise FDS with proper representation. It took a few years, but a revised version hit Los Angeles and then Broadway in 2002. There was a complete rework of the plot, retaining only character names, most of the music, and the ultimate points of the musical about the clash of old and new cultures. It had mix reviews and wasn’t successful (although I liked the album, but didn’t see the show). You can read the summary of the 2002 plot on Wikipedia. I think the new story generally works well.
This brings us to 2025. East West Players chose to include Flower Drum Song as the last show in their 2025-2026 season (which immediately caught my eye, and I grabbed tickets as soon as I could). This version would be yet another rework by David Henry Hwang of the 2002 rework. It finally hit the stage this week, and after two cancelled preview performances due to technical issues, it opened for preview performances Saturday. We saw the second preview performance Sunday evening. It officially opens Thursday. So note: Some of my observations may be overtaken by events, and some things we saw may have been adjusted by opening.
In terms of story, about 85 to 90% of the 2002 story remains.
The ending coda has completely changed, but luckily they retained having the cast state where they are from (something I loved on the cast album). I did notice a number of lyric changes from the original show, and even a few from the 2002 revival. I like the new ending quite a bit.
Skip this paragraph if you want to avoid a spoiler: According to Wikipedia, the ending in 2002 was “Ta leaves Club Chop Suey and the two become street performers as Chao departs for Hong Kong. Harvard announces his intention to return home and attempt a reconciliation with his disappointed parents. Despite his irritation at Ta, Wang allows him to marry Mei-li at the club (which now features Ta’s Chinese opera one day a week), as the company celebrates how Chinese and American cultures have converged to create this happy moment.” The updated show has the double wedding as the ending still. However, most of the main characters move to Los Angeles — and in fact, it is implied that Ta and Mei-li start a theatre company in Los Angeles that eventually becomes East West Players. Harvard remains in San Francisco, and turns the club into a successful gay Asian nightclub to provide visibility for yet another segment of the Asian community.
As this was a preview, there were a few problems but no stopping of the show. In the first act, as the headdress was being removed from Linda Low’s head, it caught on her hair pulling off her wig. As she tried to recover it flew in the face of the actor next to her. The actors handled the problem quite well, and the humor played well with the audience. I wouldn’t be surprised if that problem doesn’t become part of the show. In the second act during “Don’t Marry Me”, the problem of using real food arose: one actor was still chewing when it was time for his song cue. Again, this was handled professionally (with a little humor) and worked well. Such is the fun of a preview, and actually added to the enjoyment of the show.
Overall, the reworked version of the show did a great job of illustrating the problems of the Asian immigrant experience in the 1950s and 1960s, where white culture saw them as a stereotype created by movies (e.g., Mickey Rooney playing Japanese) and media. It was characterized in the show as the impossibility of being 100% Asian or 100% American. The updated epilogue does a better job of showing the transition of the Asian-American community.
Performances were strong throughout. My wife loved the performance of Scott Keiji Takeda as Ta (the son), in particular his voice. I loved Grace Yoo’s Mei-Li, especially watching her facial expressions. Krista Marie Yu was strong as Linda Low, and Kenton Chen seemed to be having great fun playing it up as Harvard. Emily Kuroda captured the humor of Madame Liang well; similarly, Marc Oca did a great job as the father, Wang, capturing the change from the traditional to the nightclub performer. Lastly, it is always a joy to see Gedde Watanabe on stage.
The ensemble was strong, playing multiple role and singing and dancing up a storm. I can’t speak to the authenticity of the dance moves, but they were fun to watch.
Staging was simple. Thankfully, there were no projections, and no confetti gun. There were a few tables and such as props, and appropriate background signs and such. They established location quite well. The costumes were effective and beautiful. There were a few sound problems, but that’s not a surprise in a preview performance where the sound is still being tuned and the performers are still adapting to the microphones.
About my only complaint with the show was the program: For all the credits included, there was no credit and bio for Richard Rogers and Oscar Hammerstein II. Although older audiences know who these folks are, the “kids” today likely have little idea — and especially, they may not know anything more about them than Oklahoma or The Sound of Music.
My wife summed it up best as we were leaving, and talking to Emily Kuroda who played Madame Liang as we walked to our cars: This was one of the best productions we’ve seen in a long time, both in terms of story and performance. It continues at the Aratani Theatre next to the JACCC through May 31. Tickets are available through the EWP website. Go see this show.
Credits
Flower Drum Song. Music by Richard Rodgers. Lyrics by Oscar Hammerstein II. Book by David Henry Hwang, based on the original book by Hascar Hammerstein II and Joseph Fields, which was based on the novel by C. Y. Lee. Directed by Lily Tung Crystal*. Choreographed by Lainie Sakakura* and Janelle Dote Portman.
Cast: (æ indicates members of Actors Equity): Cooper Lee Bennett Chao; Kenton Chenæ Harvard; Emily Kurodaæ Madame Liang; Marc Okaæ Wang; Scott Teiji Takedaæ Ta; Gedde Watanabeæ Chin; Grace Yooæ Mei-Li; Krista Marie Yuæ Linda Low; Joven Callowayæ Ensemble, u/s Harvard; Ethan Yaheen-Moy Chan Ensemble, u/s Ta, u/s Chao; Ijay Espinoza Ensemble; Sierra Goria Ensemble Swing; Sally Hongæ Ensemble, Dance Captain, Ms. Lee; Tony Jin Ensemble Swing; Brian Shimasaki Liebsonæ Ensemble; Esther Leeæ Ensemble, u/s Linda Low; Emma Park Ensemble; Gemma Pedersen Ensemble, u/s Mei-Li, u/s Linda Low; Hillary Tangæ Ensemble; Ai Toyoshimaæ Ensemble; Haoyi Wen Ensemble; Paul Wongæ Ensemble, u/s Chin, u/s Wang. Gedde Watanabeæ performs Chin from Apr 16-May 10 and May 17-31. Paul Wongæ performs Chin and Ethan Yaheen-Moy Chan performs Ensemble from May 11-17. Joven Callowayæ performs Harvard and Tony Jin performs Ensemble on May 23.
Music Department; Marc Macalinta Music Directior, Conductor, Keyboards; Don Sebesky Orchestrations; David Chase Musical Adaptation; Richard Berent Asst Music Director, Keyboard; Robert Elhai Additional Arrangements; Ian Dahlberg Reed 2; Vincent Reyes Guitars; Casey Lipka Bass; Phil Moore Reed 1; Rebecah Yeh Cello; Christopher Spilsbury Drums / Percussion; Avery Robinson Trombone; Peter Marcos Violin; Richie Francisco Trumpet.
Production and Creative (* Member of Stage Directors and Chroeographers Society; ¤ Member of United Scenic Artists 829): David Henry Hwang Book; Richard Rodgers Music; Oscar Hammerstein II Lyrics; Lily Tung Crystal* Director; Lainie Sakakura* Choreographer; Janelle Dote Portman Choreographer; Jamie Guan Beijing Opera Choreographer; Chen-Wei Liao¤ Scenic Designer; Jiyoun Chang¤ Lighting Design; Ruoxuan Li Costume Design; Brian Hsieh Sound Design; Naomi Kasahara Properties Design; Y. Sharon Peng Hair and Makeup Design; Darlene Miyakawa* Production Stage Manager; Annie Jin Wang Dramaturg; Shinshin Yuder Tsai Intimacy Director; Mara Palma Asst. Director / Directing Fellow; Patrick Chew Cultural and Language Consultant; Katie Adams Asst Scenic Designer; Ruth Araujo Asst Costume Designer; Antonia Yang Asst Lighting Designer; Maddi Deckard Asst. Sound Designer; Kevin Dajay Asst Props Designer; Sarah Albee Asst Choreographer; Nora Degreen Asst Choreographer; Grace Mori Asst Beijing Opera Choreographer; Brandon Hong Chengæ, Jaclyn Gehringer, and Bonifacia-Erlinda Montaño Asst Stage Manager; Sally Hongæ Dance Captain; Ai Toyoshimaæ Asst. Dance Captain. Robert Longbottom Original Direction and Choreography.
Small Print: FLOWER DRUM SONG is presented by arrangement with Concord Theatricals on behalf of The Rodgers & Hammerstein Organization, www.concordtheatricals.org. Produced on Broadway by Benjamin Mordecai, Michael A. Jenkins, Waxman Williams Entertainment, Center Theatre Group/Mark Taper Forum/Gordon Davidson/Charles Dillingham, with Robert G. Bartner, Dragotta/Gill/Roberts, Kelpie Arts/Dramatic Forces, and by arrangement with The Rodgers & Hammerstein Organization.
Administrivia
I am not a professional critic. I’m a retired cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; The Soraya, Chromolume Theatre, and 5-Star Theatricals.
Want to find a show: Check out the Theatre Commons LA show list. Other good lists are the Theatre in LA listings; the TodayTix listings; OnStage 411 (use the “shows” drop down); and Theatermania.
Some interesting shows that have caught my eye. Wisteria Theatre is doing Reefer Madness: The Musical (in April), as is Long Beach Playhouse (in October/November). Wisteria was overpriced for a black-box; I might look into Long Beach’s production (but have to factor in the drive). Ebony Rep is doing Ain’t Misbehavin’ at the end of May into June. I love the show, but the prices are a bit high and I’m still trying to decide. I have a hold on the calendar. Casa 0101 is doing the play version of Real Women Have Curves from the end of March into May. Conundrum Theatre is doing a bunch of shows, but notably Big Fish in December 2026. And, as noted earlier, the Colony Theatre is doing Catch Me If You Can in the September/October 2026 timeframe. I’ll look into ticketing the fall shows once I know the CTG Season, to prevent conflicts. Lastly, I’ll note Group Rep in NoHo has announced their season, which includes a mounting of Applause in the July-August timeframe. That’s useful if you missed the MTG one-nighter; I haven’t yet decided if I want to see it again (although Group Rep does a great job with older and rarely done musical re-visits).
I used to do more detailed writeups; here’s my current approach.
Upcoming
Key: ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending).
- April: ♦ Real Women Have Curves at Casa 0101.
- May: ♦ Falstaff at LA Opera; ♦ The Sound of Music at BIH/Pantages; ♦ Brigadoon at The Pasadena Playhouse; ♦ Hells Kitchen at BIH/Pantages.
- June: ♦⊕ Ain’t Misbehavin’ at Ebony Rep; ♦ Elegies at Chromolume; ♦ Primary Trust at CTG/Taper; ♦ Mamma Mia at CTG/Ahmanson; plus whatever I schedule from the Hollywood Fringe Festival.
- July: ♦ Mexodus at Pasadena Playhouse; ♦ The Wizard of Oz at 5-Star Theatricals; ♦ If/Then at Chromolume Theatre.
This entry was originally posted on Observations Along the Road as 🎭 The Clash of the Old and New | "Flower Drum Song" @ East West by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link to the left. You can sign in with your LJ, DW, FB, or a myriad of other accounts. Note: Subsequent changes made to the post on the blog are not propagated by the SNAP Crossposter; please visit the original post to see the latest version. P.S.: If you see share buttons above, note that they do not work outside of the Wordpress blog.