2017.032.006 Oral History Interview with Baayork Lee, June 27, 2003

 

Baayork Lee was one of the children cast in the ensemble of Rodgers and Hammerstein’s 1958 production of “Flower Drum Song.” Asked to share memories of rehearsals or shows, she recalls working closely with choreographer Carole Haney on some of the dance numbers, understudying and unexpectedly going on as “Fan Tan Fannie” for one performance, and watching and learning dance steps on the side. She also offers her views on such topics as Asian stereotypes in the original show, David Henry Hwang’s rewriting of “Flower Drum Song,” why the show did not succeed on Broadway, racial cross-casting, and opportunities for Asians in the arts. This interview is one of a series of 18 interviews that author David Lewis Hammarstrom conducted in 2003 as part of research for his book, Flower Drum Songs: The Story of Two Musicals (2006).

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

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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

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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

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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

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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

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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

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