An interview with Giau Minh Truong, the director of Ching Chong Chinaman
We couldn't resist the opportunity to pick the brain of director and A-Squared company member Giau Minh Truong to find out what he thinks about Ching Chong Chinaman and the message behind the story. So we asked him some questions about the play and the process of bringing it to life. Here's what he had to say.
Tell us how your A-Squared story began. When and how did you get involved with the company?
In the year 2007, I had auditioned for Trial By Water by Qui Nguyen. A play about the boat people who had escaped from Vietnam and the horror they meet out at sea. I got the role of Huy the younger brother and I also designed the lighting for the show. This was the first time I performed a story that was very similar to my own, and it felt empowering.
Tell us about how the decision to produce Lauren Yee’s Ching Chong Chinaman came about.
Cary first read the script and handed a copy of the play to me during My Asian Mom 2014. After reading it, I thought it was a great opportunity to start a conversation on Asian-American perception of what really does it mean to be an American. What is assimilation? If you don't assimilate does it mean you have less freedom and liberty?
In one word: initial reaction upon reading it
Avant-garde
What is the most challenging aspect of bringing Ching Chong Chinaman to life?
The most challenging aspect was creating the world of Ching Chong Chinaman. We had to get rid of our logic and dive into our subconscious.
On casting the Wong family, the Chinese Woman, and “J”: What characteristics did you look for in the actors during the casting process?
I had made my decisions casting mostly from watching these actors in My Asian Mom 2014. I have also worked with all the actors before in previous shows, so I knew what they were capable of doing.
Most memorable rehearsal moment to date?
Oh memorable is a loaded question. Usually memorable for me are the bond you make during the process. I tend not to think about memorable until after the show is over just because tomorrow might be the most memorable day I'll remember.
What is the main message that you would like this production to convey to the audience?
The Asian American culture is more diverse. Everyone stereotypes without thinking they do. Not knowing your heritage or lack of a culture can be detrimental to yourself, a family, and a community. You truly can't assimilate if you are still perceived as an outsider. The Wong family can be any American Family. I believe Americans have two paths: we all assimilate and become one race of mix culture; or we harmonize and embrace diversity and work together. Both paths are hard to achieve if we stereotype instead of learn about each other. But life is complex, so are individuals. Being a stereotype is draining to an individual, it's like being the funny guy. Everyone expects you to be funny all the time. And when you aren't you feel like you disappointed people or yourself. You stop being yourself and you start becoming a character, you start feeling one dimensional. Negative stereotypes are the same. When people stereotype you as always an angry person, you have to work twice as hard to break the stereotype. Maslow once said if all you have is a hammer, all you see are nails. If you stereotype you will miss the wonderful personality traits of an individual. But the most important thing I want to convey is for people to start thinking about how do we create culture? How do we preserve our heritage and still be inclusive to others?
Giau's Bio
Giau Minh Truong is a company member of A-Squared Theatre Workshop for which he directed The Other Shore and various shorts that appeared in My Asian Mom, A-Squared’s signature show of ten-minute plays that enjoyed runs in 2012, 2013, and 2014. Giau’s other directorial credits include Downward Facing, Lights Out, Everybody, and Theatre of Women for Dream Theatre Company. He directed Sister Outlaw, Mr and Mrs LaQuesta Go Dancing, My Name is Flor Contemplacion, and I Dream Electric for CIRCA-Pintig, Chicago’s long-running Filipino American theatre company for which he served as artistic director from 2007 through 2012. Giau has also directed plays for James Downing Theatre Company and Theatre for a Change. He serves as a teaching artist and program manager for Storycatchers and stage manages with Chamber Opera Chicago and various other companies.
We couldn't resist the opportunity to pick the brain of director and A-Squared company member Giau Minh Truong to find out what he thinks about Ching Chong Chinaman and the message behind the story. So we asked him some questions about the play and the process of bringing it to life. Here's what he had to say.
Tell us how your A-Squared story began. When and how did you get involved with the company?
In the year 2007, I had auditioned for Trial By Water by Qui Nguyen. A play about the boat people who had escaped from Vietnam and the horror they meet out at sea. I got the role of Huy the younger brother and I also designed the lighting for the show. This was the first time I performed a story that was very similar to my own, and it felt empowering.
Tell us about how the decision to produce Lauren Yee’s Ching Chong Chinaman came about.
Cary first read the script and handed a copy of the play to me during My Asian Mom 2014. After reading it, I thought it was a great opportunity to start a conversation on Asian-American perception of what really does it mean to be an American. What is assimilation? If you don't assimilate does it mean you have less freedom and liberty?
In one word: initial reaction upon reading it
Avant-garde
What is the most challenging aspect of bringing Ching Chong Chinaman to life?
The most challenging aspect was creating the world of Ching Chong Chinaman. We had to get rid of our logic and dive into our subconscious.
On casting the Wong family, the Chinese Woman, and “J”: What characteristics did you look for in the actors during the casting process?
I had made my decisions casting mostly from watching these actors in My Asian Mom 2014. I have also worked with all the actors before in previous shows, so I knew what they were capable of doing.
Most memorable rehearsal moment to date?
Oh memorable is a loaded question. Usually memorable for me are the bond you make during the process. I tend not to think about memorable until after the show is over just because tomorrow might be the most memorable day I'll remember.
What is the main message that you would like this production to convey to the audience?
The Asian American culture is more diverse. Everyone stereotypes without thinking they do. Not knowing your heritage or lack of a culture can be detrimental to yourself, a family, and a community. You truly can't assimilate if you are still perceived as an outsider. The Wong family can be any American Family. I believe Americans have two paths: we all assimilate and become one race of mix culture; or we harmonize and embrace diversity and work together. Both paths are hard to achieve if we stereotype instead of learn about each other. But life is complex, so are individuals. Being a stereotype is draining to an individual, it's like being the funny guy. Everyone expects you to be funny all the time. And when you aren't you feel like you disappointed people or yourself. You stop being yourself and you start becoming a character, you start feeling one dimensional. Negative stereotypes are the same. When people stereotype you as always an angry person, you have to work twice as hard to break the stereotype. Maslow once said if all you have is a hammer, all you see are nails. If you stereotype you will miss the wonderful personality traits of an individual. But the most important thing I want to convey is for people to start thinking about how do we create culture? How do we preserve our heritage and still be inclusive to others?
Giau's Bio
Giau Minh Truong is a company member of A-Squared Theatre Workshop for which he directed The Other Shore and various shorts that appeared in My Asian Mom, A-Squared’s signature show of ten-minute plays that enjoyed runs in 2012, 2013, and 2014. Giau’s other directorial credits include Downward Facing, Lights Out, Everybody, and Theatre of Women for Dream Theatre Company. He directed Sister Outlaw, Mr and Mrs LaQuesta Go Dancing, My Name is Flor Contemplacion, and I Dream Electric for CIRCA-Pintig, Chicago’s long-running Filipino American theatre company for which he served as artistic director from 2007 through 2012. Giau has also directed plays for James Downing Theatre Company and Theatre for a Change. He serves as a teaching artist and program manager for Storycatchers and stage manages with Chamber Opera Chicago and various other companies.