0:00 - How she got in the show, was a child, did not know or remember Rodgers and Hammerstein, was not a singer or dancer, was chosen because of how she looked, Carole Haney (choreographer) put her into some of the dance numbers, did not work closely with Gene Kelly since he was working with the leads
Direct segment link:
8:47 - Memories from the rehearsal process or show, being allowed to sit and watch the nightclub/cafe scene, did understudy for “Fan Tan Fannie,” went on as “Fan Tan Fannie” for one performance, Cely Carillo, Patrick Adiarte, Lori Stewart, what she thought of the choreography, asked about more memories but did not have many since she was young
Direct segment link:
19:41 - She was upset that going to Brooklyn High School of the Arts meant she could not continue with the show, show doing well in New York, being on “The King and I” compared to “Flower Drum Song,” learning all the dance steps on the side, how she looks back on the show now as an adult, how she views the new “Flower Drum Song,” Asian stereotypes in the original show
Direct segment link:
28:44 - Her view on Hwang’s rewriting of the show, why show did not succeed on Broadway, negative reviews, not many opportunities for Asian performers, Longbottom had the courage to put story on stage with Asian actors
Direct segment link:
39:43 - Her view on cross-casting, more opportunities as Asians become more qualified, agrees that Rodgers and Hammerstein were more sensitive to Asians, back then had picture brides, more thoughts on Asian stereotypes and contextualizing the times in 1958, thoughts on Pat Suzuki and her character, racial background of cast, more than half of cast was non-Asian, Hwang brought the story to the 21st century
Direct segment link:
51:52 - Had hoped the show would succeed on Broadway, speculates on why it did not succeed, Pat Suzuki supported new show in New York, the next steps after interview, Asian women in media
Direct segment link: