David Henry Hwang Takes a Forensic Look in the Mirror

by Mary Lou Herlihy

At the intersection of Truth and Fiction lies the storyteller.

David Henry Hwang’s comedy “Yellow Face” blurs facts around identity. As relevant today as in 2007, Hwang’s touching love letter to his father uncovers hidden histories of Asian American racism. Loaded with pithy and shocking barbs from 90s actors, politicians, and journalists, the show rips along. Familiarity with the “Miss Saigon” casting controversy helps.

The hit musical “Miss Saigon” came from London starring Jonathan Pryce playing the leading Asian role. That’s a case of “yellowface,” when a white actor plays an Asian role—like “blackface.” Playwright Hwang led a movement against the “yellowface” casting, but he FAILED. In his play “Yellow Face,” the DHH stand-in (thoughtful Ben Chau-Chiu) re-lives Hwang’s protest, showing us two sides of his personality—leader and follower.

DHH’s father, called HYH (charming Joseph Alvarado), a conservative southern California banker, always finds the silver lining. “You been smart, keeping your name in the newspapers,” says the father, who loves his adopted country—before it turns on HIM.

But like other targets of racist suspicions, DHH’s father gets swept up in anti-Asian American hysteria. Senator Pete Domenici of New Mexico attacks Wen Ho Lee, a nuclear scientist, saying, “That man doesn’t deserve civil liberties.” Lee is jailed, the victim of relentless false accusations.

In dizzying onstage movement, actors bark out sound bites ripped from the headlines. Hwang uses rapid-fire lines requiring razor-sharp comedic timing. Results are mixed. Cameron Mackintosh, the British producer of “Miss Saigon,” cries out: This mess is a “tempest in an Oriental teapot.” The audience gasps.

When DHH, himself, accidentally casts a white actor in his play “About Face,” questions of truth and identity loom large. In one of the most outrageous scenes, DHH and white actor Marcus (compassionate William Brosnahan) lie to theater students about Marcus’ real identity. Brosnahan’s hilarious expressions go from panic, to confusion, to acceptance, when DHH claims Marcus is a SIBERIAN JEW with distant Chinese ancestors!

As Marcus’ false identity gains traction, DHH bristles with disgust AND envy. Marcus does a great job of embracing his fake “Asian” identity, even dressing like DHH. Marcus, THE WHITE GUY, becomes the FACE of the Asian American community! What a backfire for the play.

DHH ridicules NWOAOC (Name Withheld on Advice of Council), the Times reporter who attacks his father. Alan Coyne perfectly portrays the slippery reporter—his stony face tells all. Of the six actors, five play so many roles that they cannot be properly credited. Chloe Wong as Leah Anne Cho (and others), and Nicole Odell as Jane Krakowski (and others) give form and differentiation to many unique characters.

Reminding us of racial stereotypes, a museum style display contains Mickey Rooney’s smiling “yellowface” from a 1961 movie. In another box, The Statue of Liberty entangled in barbed wire reminds us of Japanese internment and America’s ongoing failure to welcome its huddled masses.

DHH’s “Yellow Face” presents a funny and complicated engagement with racism, using the most powerful weapons of all—love and wit. Be sure to catch “Yellow Face” to see how yesterday’s headlines still affect us today.

“Yellow Face” by David Henry Hwang, directed by Daniel J. Eslick, scenic design by Clint Sumalpong, costumes by Nolan Miranda, sound by Michael Kelly, lighting by Spense Matubang, props by Micaela Kieko Sinclair, at Shotgun Players, Berkeley, California. Info: shotgunplayers.org – to June 14, 2025.

Cast: Joseph Alvarado, William Brosnahan, Ben Chau-Chiu, Alan Coyne, Nicole Odell, and Chloe Wong.

Banner photo: William Brosnahan (Marcus Gee) & Ben Chau-Chiu (DHH). Photos: Robbie Sweeny