It’s unbelievable to be among Luis Valdez, Robert Hooks, and others interviewed for the American theater issue of Tar Baby, a new quarterly journal published by the Toni Morrison Foundation that “connects a global community of intellectuals, artists, educators, and cultural enthusiasts.”
Many thanks to renowned novelist Ishmael Reed for the Q and A below. I encourage you to get a copy of the Fall 2025 issue here, just to see the world-class magazine design by Gisela Swift of Picante Creative that uses photos from our recent script workshop at the Seattle Repertory Theater. You can click on the images to read the spread, but I’ve also posted the text below: Continue reading Q and A with Ishmael Reed on “NO-NO BOY: The Play”→
The Okada signature survives! When I first came to Seattle in 1977, poet and playwright Garrett Hongo brought me backstage to the empty Nippon Kan Theater to show me a wall of graffiti with the name of a juvenile John Okada, painstaking inked into the stone. It was like touching a piece of history. Continue reading Okada graffiti preserved at historic Nippon Kan Theater→
Many thanks to Seattle Rep Literary Manager and Dramaturg Paul Adolphsen for so expertly leading the October 24 panel on our work to adapt John Okada’s No-No Boy for the theater. This was the second in the series of panels I’ve been curating for the Seattle Public Library on the occasion of the John Okada Centennial. Continue reading From Page to Stage: Adapting NO-NO BOY for Today’s Theater→
The history and literature of Japanese American resistance to wartime incarceration
It’s unbelievable to be among Luis Valdez, Robert Hooks, and others interviewed for the American theater issue of Tar Baby, a new quarterly journal published by the Toni Morrison Foundation that “connects a global community of intellectuals, artists, educators, and cultural enthusiasts.”
