Q&A: Local playwright Christine Hoang hopes to see her screenplay Fly Girl soar

Many playwrights have made the leap from stage to screen, either adapting their own works or creating original new stories. Local award-winning writer (and producer/actress) Christine Hoang aims to be the next artist to make this transition with her new screenplay, Fly Girl, which will receive a staged reading this weekend at the Asian American Resource Center, produced by Color Arc Productions and directed by Jenny Lavery.

I caught up with Hoang in this blog-exclusive interview to learn more about the screenplay, the upcoming reading, and her participation in the Sundance Institute’s Development Track.

Andrew Friedenthal: What is your screenplay, Fly Girl, about?

Christine Hoang: Set in Austin, Texas, our story is centered on protagonist Linh Hoang Williams—a 42-year old, size 12 (or size 14 depending on that week’s carb intake), Vietnamese American, recently-divorced, single mom. It’s her 42nd birthday weekend, but Linh’s eight-year old biracial daughter Nini is spending it with her father (Linh’s ex-husband).

Linh can’t sleep when she learns that her ex-husband has started dating again. To distract from her feelings of failure, Linh makes a birthday wish: get a hobby. Her best friend takes her to a Twerkshop (yes, a workshop for twerking) where Linh impresses the dance instructor, who casts Linh in a 90s-inspired hip hop dance troupe called the Fly Girls. Linh soon learns she’s the chubbiest and oldest dancer there—a 42-year old on Facebook in a room of 20-year olds on Instagram. Imposter Syndrome sets in and she starts to lie. Linh tells them, “I’m 30, no kids, never married.” She plugs these lies into her dating profile and meets Isaac, the first Asian guy in her life who tells her, “You’re beautiful,” instead of, “You’re fat.” 

When Linh’s lies start to unravel, her alter ego begins to crack. She must overcome her inner demons to find out who she really is. 

Friedenthal: Is Fly Girl a romantic comedy?

Hoang: I wouldn’t call it a rom-com. Fly Girl is a love story about the love you give yourself. I’d call it a second coming of age story that happens when you’ve hit the midpoint of your life. 

Friedenthal: What was the inspiration/impetus for writing this screenplay?

Hoang: A year ago, my daughter asked me, “Mommy, can you write something that I can be in with you?” One year later, and she is performing alongside me in my staged reading of Fly Girl on Saturday, November 9th.

I am committed to telling stories where women feel seen, both on stage and on screen. I especially believe that an Asian American woman (one who is not glamorously young, beautiful, rich, and thin) can carry that lead story to portray a whole, fully-realized person who grows into her strength. Moreover, I am passionate about telling a story set in the American South with authentic and diverse characters that reflect the unique community of Asian, Latinx, Black, and LGTBQ voices in an otherwise predominantly white, cis hetero Austin, Texas. 

Fly Girl is a comedy inspired by my true-life story. Much like Fly Girl’s main character Linh, I am a Vietnamese American Gen X-er who grew up seeing Asian American women portrayed as peasants or prostitutes in Vietnam war movies. Then came Carrie Ann Inaba, the Asian Fly Girl in the 90s sketch comedy show In Living Color by Keenan Ivory Wayans. Carrie Ann was the first “cool” Asian I ever saw on television. As a teenager in the 90s, I would tune in every week just to get a glimpse of her dancing on screen. I wanted to dance just like Carrie Ann, and I would get that chance two decades later when producer/director Adrienne Dawes and choreographer Carissa McAtee cast me as a Fly Girl in Heckle Her’s 90’s-inspired sketch comedy show Doper Than Dope. I was over the moon.

On the first day or rehearsal, however, I looked around and soon realized I was the chubbiest and only Gen-Xer in a hip-hop dance troupe of skinny Millennials. But after several rehearsals, I eventually realized that these young women weren’t my competition; they were my inspiration. They taught me how to text with both thumbs instead of my pointy finger, how to listen to Spotify instead of Pandora, and how to Instagram. They also helped me to get out of my own way, get out of my head, and get after my dreams. 

I am so grateful that many folks who were on the Doper Than Dope journey with me are now part of the Fly Girl staged reading. Leslie Lozano (my fellow Fly Girl from both Doper Than Dope and Doper Than Dope 2) is the choreographer, sound designer, and an actor/dancer in our Fly Girl staged reading. Leslie plays the role of Ella. Moreover, Austin’s powerhouse actor Jesus Valles is playing the role of Linh’s best friend Ruben. Jesus was a writer in DTD and a writer/actor in DTD 2. Furthermore, our Fly Girl narrator Deborah Sengupta Stith was in the audience for DTD and DTD 2. 

Friedenthal: Fly Girl has made it to the second round of the Sundance Development Track for new feature films. How did that come about, and what does it mean for further development of the screenplay?

My roots are in theatre as a playwright, theatre producer, and theatre actor. In 2017, my indie film producer friend Andrew Lee and his wife Brandy came to see me perform in my comedic play People of Color Christmas. He told me my work should be on the big screen, and encouraged me to submit my script to Sundance. I only had 48 hours to submit, and because I didn’t have time to adapt my script into a screenplay, I just submitted the stage play. Predictably, I was rejected. It wasn’t far enough along in the development process. But because Sundance’s rejection letter was so nice and thoughtful, I decided to try for it again this year. To better prepare myself, I enrolled in Jill Chamberlain’s screenwriting class and 10 weeks later, I wrote my first draft of Fly Girl, my very first screenplay. Seven drafts later, I am now doing a staged reading directed by award-winning director Jenny Lavery and choreographed by my ride-or-die Fly Girl Leslie Lozano.

Friedenthal: What’s the next step for Fly Girl, both at Sundance and in general?

Hoang: Fly Girl advanced to the Second Round in the 2020 Sundance Development track for Feature Films. I find out in late December whether I move on to the final round. 

In the meantime, I have applied to some grants in an effort to build resources to make this movie. I’ve also aligned myself with a kick ass producer and director, both of whom are Asian Americans and Texans.

Friedenthal: What’s the staged reading for Fly Girl going to look like?

Hoang: I am so excited about this staged reading because of the talent we’ve assembled to bring this to life. We will not be sitting behind music stands. Although we will have scripts in our hands, the cast will most definitely be moving, dancing (maybe even twerking), acting, and performing under the direction of Jenny Lavery.

I have admired Jenny’s bold directorial work for some time. Based on her fearless direction in the plays Drowning Girls, Severe Weather Warning, and Dance Nation, it is undeniable that Jenny knows how to tell a story where a flawed female character grows into her strength. Jenny also has phenomenal understanding of body work, movement, and how to get a writer’s vision on its feet—literally! 

Be prepared to laugh, to cry, to fall in love, to get your heart broken, to rejoice, and to soar. Fly Girl is a staged reading that you can see with your tweenagers and your grandparents. And admission is free. Just RSVP at aarcatx.eventbrite.com. See y’all on Saturday, November 9th at the Asian American Resource Center on Cameron Rd. Doors open at 7:30pm.

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Review: “The Vineyard” is an ambitious, if flawed, mix of science fiction and spirituality

I’m particularly excited to present this new blog-only review of The Vineyard, the latest production from the Heartland Theatre Collective. Heartland is a relatively young company—this is only their third production in as many years, following late 2016’s Dust and last year’s Little Bird—but they’ve made a name for themselves creating powerful, nuanced plays that explore the stories and lives of Texas women.

The Vineyard comes from the same creative team and co-producers as the prior two Heartland shows—playwright Nicole Oglesby, director Marian Kansas, and dramaturg Katy Matz—and feels like the continuation of an arc that began with the sometimes brutal realism of Dust and continued into the ghostly magical realism of Little Bird. In The Vineyard, even though Kansas maintains a generally realistic presentation, Oglesby has moved further into the realm of the metaphysical with a story that takes on the dimensions of both science fiction and ethereal spirituality.

The titular vineyard, we learn very soon into the play, is the home to a transhumanist group—that might be a cult—of “bio-hackers” who are altering their bodies and DNA to become something more than human. We discover the group through the eyes of newcomer Joan, played by a very grounded Rosalind Faires, who quickly finds herself enmeshed in the lives (and loves) of the group. The members include Georgia (the very sardonic Brooke Ashley Eden), a cynic who refuses to be experimented on, and the over-eager, PTSD-suffering Leo, portrayed with simple sweetness by Brennan Patrick.

At the heart of the group, though, is the duo of Kevin, the scientist performing all of the experiments, and Susanna, the ultimate realization of the manic pixie dream girl (complete with her own surgically added, possibly functional wings). Whereas Kevin is driven by the science fiction-inspired quest to alter the human body to survive a changing climate via his transhumanist treatments, Susanna burns with a kind of new age spiritualism that leads her to believe she is—or is at least becoming—an actual angel.

The two are perfectly embodied by the angsty nerdiness of Will Gibson Douglas as Kevin, and the whimsy-mixed-with-danger of Khali McDuff-Sykes’ Susanna. The arc that McDuff-Sykes takes, moving from the manic pixie of the play’s early scenes to an increasingly disillusioned, embittered monster of the id, is in fact the standout performance of the play.

The tension at the heart of The Vineyard, then, is not so much the more sensational aspects of body transformation and cult behavior, but rather the conflict between Kevin’s biological perspective and Susanna’s emotional psychology. Though this is a truly ambitious subject, unfortunately the play doesn’t quite pull it off. The science fiction concepts are thrown off a bit too easily, and many of the spiritual questions ignore those ideas when they could probe greater emotional and philosophical quandaries by diving deeper into the strange reality of the play’s world.

The concepts that The Vineyard undertake are ambitious and intriguing, but the play itself does not ultimately explore them in a fully engaging manner, as it relies on high-level philosophical musings rather than the specifics of these particular characters. Nonetheless, it is a thoroughly accomplished production with solid performances that leaves me eager to see what’s next from the Heartland Theatre Collective.

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Review: Capital T Theatre’s It Is Magic is, well, magic

Here’s another blog-only review—It is Magic, the latest offering from Capital T Theatre which, despite initial appearances, is a perfect Halloween treat.

“It Is Magic” (playing through November 24th at Hyde Park Theatre) is the latest work by playwright Mickle Maher to be taken on by director Mark Pickell and Capital T, and it is a strange, fierce, funny ode to the sometimes sinister magic of the theater.

The black box that is Hyde Park Theatre is the perfect setting for “It Is Magic,” which takes place in the basement of a community theater somewhere in middle America. Sisters Deb and Sandy are holding an audition for a new play written by Deb, an “adult interpretation” of the story of the three little pigs, focusing on the character of the wolf. Meanwhile, a production of Macbeth is premiering in the theater upstairs, leading artistic director Ken to come downstairs and pontificate on what he sees as the banality of theater itself.

What begins, then, as a parody of the pretensions and self-aggrandizement of small-scale theater slowly transforms into a comedic, chaotic, surrealist interrogation of the intersection of live performance with both real and imagined magic. The stories of the three little pigs and Macbeth soon converge within the lives of the characters, and director Pickell (along with lighting designer Patrick Anthony and sound designer Lowell Bartholomee) create some convincing bits of theatrical magic of their own that transport us from a bare basement to a place full of wonder and witchcraft.

This description is, of necessity, elliptically vague, as the play very much revolves around a narrative reveal about half-way through the script, at which point the more supernatural side of Mickle’s text becomes clear. Katherine Catmull, as Deb, and Rebecca Robinson, as Sandy, do an excellent job of riding the line between these two halves, equally inhabiting both the satire and the savageness demanded by the script. 

Similarly, Robert Pierson as artistic director Ken smoothly moves between humorous pomposity and controlling rage, while Jill Blackwood’s confused and vaguely menacing presence as a strange woman named Liz is an intense and wickedly fun departure from much of the actress’ more recent, stately work. Finally, John Christopher, as the amiable local actor Tim, rounds out the cast by truly hamming up the stage with a delightful, over-the-top energy that moves from funny to frightening as the play progresses.

“It Is Magic” is a fun, ferocious, and (after a few slow-paced opening scenes) fast-moving ode to the power and potency of theatrical magic, which is as spooky as it is unsparing in its parody of the pretensions of theater that sometimes—just sometimes—are well warranted.

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October Updates

It’s been quite a busy October for me on several levels, so here’s one of my increasingly-frequent catch-up blogs with recent pieces for the Austin American-Statesman and Austin360, including one of the biggest raves I’ve ever written!

Why this ‘Jesus Christ Superstar’ is one of the great revivals in musical theater history

Find somewhere that’s green at Austin-area ‘Little Shop of Horrors’ production

Salvage Vanguard’s Three Headed Festival celebrates new ideas, identities

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Review: Hang asks big probing questions, but provides few answers

Time for another blog-only review, this time of the premiere production from a new Austin-area company, Horizon Line Theatre!

Hang, by debbie tucker green, is an elliptical play that asks its audiences questions as much through what is left unsaid as through what is said. A new mounting of the play, the debut production from Horizon Line Theatre (and playing through October 19th at Ground Floor Theatre), is fortunately anchored in three strong performances that engage and probe the emotions as much as the intellect.

Any discussion of Hang must be somewhat vague, because the play itself is so deliberately vague throughout. It’s three-person cast are not given names (referred to only as One, Two, and Three in the program), and the locale is never made any clearer than some kind of office somewhere in England. A pair of employees in that office—One and Two, played here by Barbara Chisholm and Robert Faires—are meeting with a woman—Three, played by Nadine Mozon—who has come in to make a very difficult decision. Though we finally learn what that decision is, the broader context that surrounds it is never made explicit, but rather only hinted at.

Robert Faires, Nadine Mozon, & Barbara Chisholm (Photo by Cheri Prough DeVol)

Instead of telling a particular, individual story, then, Hang becomes in large part about the bigger forces of bureaucracy and power in our modern world. The power dynamics between the employees and the woman are made exquisitely, painfully clear through what starts as innocuous dialogue and later becomes a true point of anguish for the woman. Though the dialogue leaves issues of race and class as subtext, it is also impossible not to contrast the dowdy casualness of Mozon’s attire with the sharp business dress of Chisholm and Faires, nor to ignore the racial dynamics of two white people trying—and failing—to empathize with a black woman’s sorrow and angst.

As such, Mozon’s charged, weighty performance is at the heart of Hang, since the nuance of her reactions to Chisholm and Faires’ every word is the largest hook into the story’s context. All three actors are at the top of their game, fully recognizing that every moment needs to be as specific as possible in order to fill in the gaps of the story.

Though it raises some very important issues regarding power dynamics, the ability to empathize, and the cost of vengeance, much of Hang feels more like an essay than a narrative, even though the presentation is scrupulously realist (achieved through pitch-perfect scenic and costume design by Michelle Ney and lighting design by Chell Prough DeVol). The play itself is—perhaps deliberately—quite frustrating, with extraordinary amounts of vamping in order to keep the background vague, but it often comes across as just snappy patter for the sake of filling the silence.

Fortunately, director Chuck Ney recognizes the strength of his cast, and allows them to delve into the emotions of the scene even when the context for those emotions isn’t clear. Together, Chisholm, Faires, and especially Mozon are able to mine real pathos from what might otherwise be a solipsistic meditation, compensating for the lack of a narrative arc with a satisfying emotional through-line that buoys the production and allows for some sense of closure in the end.

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Zach’s bloodless ‘Dracula’ is sexy but lacks bite

I’ve just come from the premier of the 50th Anniversary National Tour of Jesus Christ Superstar, which is one of the greatest pieces of live theater I’ve ever seen.

But that review will run tomorrow, and I’ll post it soon after. For now, here’s a review of a less-spectacular production, ZACH Theatre’s new version of Dracula.

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A few STATESMAN Pieces

September and October are always busy times for Austin theater, so here’s a few more recent pieces (with still more to come in the next few weeks):

Theatre en Bloc’s Dance Nation

Theater Q&A: What a teen girl might feel watching ‘Dance Nation’

Hidden Room brings 1600s ‘Duchess of Malfi’ first to Austin, then to London

Zach Theatre’s ‘Jungalbook’ an immersive message of society’s ideals

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September Updates

Hello! In addition to the blog-original reviews I’ve been posting lately, I’m still continuing to write reviews and previews for the Austin American-Statesman. Here’s a roundup of the latest pieces:

(paper chairs’ Plano, courtesy of Dustin Willis)

Theater Q&A: ‘Admissions’ is a story straight from the headlines

New Austin theater company opens with tribute to Toni Morrison

Austin theater: A Texas town is a surreal place to be in ‘Plano’

Theater Q&A: ‘Holmes and Watson’ turns the great detective into the mystery

Review: Touring production of ‘Les Misérables’ is as stirring as ever

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Review: Shrewd Productions’ “Jump” is a Complex Look at Depression and Family

Welcome to another blog-only review, this time of the National New Play Network Rolling World Premiere of Charly Evon Simpson’s Jump, from Shrewd Productions (playing through September 29th at the Santa Cruz Theater).

Jump is a relatively simple play, taking place in only two locations—a family house within an unnamed big city, and the bridge which can be seen from afar through one of the house’s windows. Riding the line between these two spaces is Fay, a woman dealing with the aftermath of her mother’s death from cancer. The story moves back and forth between Fay cleaning out the family house with her sister Judy and their father, while simultaneously brooding on the bridge.

(Performance photo by Tia Boyd.)

For the majority of the play, Simpson is deliberately elliptical as to the temporal relationship between the two settings. Is Fay on the bridge remembering the house, or in the house remembering the bridge? As the story unfolds, the relationship in time, space, and narrative between both settings becomes much clearer, slowly revealing a complex, heartfelt emotional depth that pays off the weird instances of Deja vu that Fay experiences from the start of the play.

At the heart of this production—and its greatest strength—is the completely natural, unaffected, desperately loving portrayal of Fay by Chelsea Manasseri. A regular player at the Vortex as well as a company member at Shrewd Productions, Manasseri is often cast in experimental or avant-garde works, so it is a treat to see her in a much more realist mode of psychological verisimilitude.

The same is true of Trey Deason (another actor who frequently crosses over between the Vortex and Shrewd) as Hopkins, a depressive whose encounters with Fay on the bridge becomes a lifeline that prevents him from jumping. It is through Hopkins that we initially encounter the play’s larger themes of depression, despair, and their genetic linkage. 

Both Deason and Manasseri evoke different external images of depression, from mopiness to manic energy, in an examination of how what’s beneath the surface of a person is often at odds with what they portray to the rest of the world. This theme is further explored in Fay’s relationships with Judy, portrayed with charm and energy by Allegra Jade Fox, and their dad, a run down, beleaguered Kyron M. Hayes.

Shannon Grounds and her creative team (particularly set designer Indigo Rael and lighting designers Patrick Anthony and Emily Scott) effectively reinforce Simpson’s themes with a design sensibility—driven by a careful color palette—that plays off of the ways that the narrative twists of the story reveal themselves. Of special note is the sound design by Nick Hart, a near-constant bed of cityscape noises that create a sense of place while also highlighting crucial moments by suddenly pulling back to create eerie silence.

The weakness of this production, though, is its very slow pace, one that is almost plodding in the first act. This is a combination of elements that could be tightened up in both the text (several scenes feel repetitive of moments we’ve already viewed and concepts that have already been discussed) and the production (long moments of silence that needn’t stretch on quite as much as they do). What is a two-act play could, with some editing, easily become a much more powerful piece with no intermission that, unfortunately, pulls the audience out of the emotional build-up of the story, creating a second act that is richer in ideas than in feelings.

Jump is a powerful exploration of depression that, in some ways, speaks more to the head than the heart. It is, nevertheless, an important statement about what depression looks like, and with some tightening up it could provide a look into this vital issue with the same kind of depth, emotionally, that its intellectual vigor possesses.

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Review: Alchemy Theatre’ Company’s “The Waverly Gallery” Features a Stunning Central Performance in a Very Emotional Play

Welcome to the second original review to appear on this blog! This time around, I’m looking at the second outing in the premier season of a company that’s new to Austin theater, The Alchemy Theatre Company, and its production of Kenneth Lonergan’s The Waverly Gallery (running through October 5th at the Mastrogeorge Theater).

Though the play itself is twenty years old at this point (it was a finalist for the 2001 Pulitzer Prize), The Waverly Gallery has reentered public consciousness in recent years thanks to a 2018 Broadway revival that featured an all-star cast and garnered a Tony Award for Best Actress for Elaine May. When it comes time for awards season in Austin, the same role may prove bountiful for the beating heart of this production, local treasure Babs George.

The Waverly Gallery is a memory play, focusing on a young man’s reminiscence of his grandmother’s final few years of life as she descends further and further into dementia due to Alzheimer’s disease. Though we see the story through the eyes of the grandson, Daniel (played here with a delightfully dry sense of warmth and growing frustration by Ruben Caballero), it is his grandmother’s story that carries the momentum of the play.

As Gladys Green, Babs George transforms over the course of the play. From the opening scene, when we see a slightly befuddled, but still smart and funny, older woman whose lapses might be due as much to a faulty hearing aid as a faulty memory, through to her final descent into horrified hallucinations and total confusion, George never handles the character than anything less than full love, sympathy, and understanding. She gives us a glimpse into the indomitable lawyer and crusader for progress who Gladys once was, making her current state of decreasing functionality even more deeply tragic.

Lonergan’s text rides the line between a philosophical look at ageing and death, a naturalist presentation of family dynamics, and a deeply felt love letter to those suffering from Alzheimer’s and similar diseases. Ms. George is the most adept performer at carrying the emotional weight of the text, but the rest of the cast are equally at home in recreating the natural nuances of both conversation and heartbreak. Kim Jackson Davis, as Ellen—Gladys’ daughter and Daniel’s mother—is particularly notable for showing how a façade of strength is often a razor-thin mask for explosive turmoil and sadness within.

Director Michael Cooper knows that he’s dealing with heavy material here, and thus never fails to highlight a moment of warmth or humor within the story, while lighting designer Kelsi Bodin creates a brightly lit world that emphasizes the emotional shadows within the characters. The only downside, production-wise, is the frequent and lengthy scene transitions that cut harshly into the narrative momentum, working against the free flow of memories that the text is trying to evoke.

Fortunately, Ms. George’s performance is so bravura that she is able to pull the audience right back into any scene that features her. And therein lies the key to Alchemy Theatre’s production of The Waverly Gallery—an amazing lead performance that is so strong that it more than makes up for any failings.

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