Playwright, librettist and screenwriter David Henry Hwang shares his experience working with theater producer Joe Papp, who produced his first play, “FOB.”
“FOB,” which premiered in 1980, explores the dynamics between assimilated Asian Americans and new immigrants. Papp produced four of Hwang’s plays, including “The Dance and The Railroad” and “Family Devotions.” Hwang’s other titles include “M. Butterfly,” Disney’s “Tarzan,” “Aida” and “Yellow Face.” He is currently penning a biopic on actress Anna May Wong.
In this Q&A, Hwang reflects on his time working with Papp, the importance of inclusion in the arts and Papp’s legacy in transforming theater.
David Henry Hwang
1. Was Joe Papp ahead of his time for the type of work he was producing and how did you view him when he first reached out to you?
Joe Papp produced my first play, “FOB,” which I wrote and produced during my senior year in college in the lounge of my dormitory—as a result of community activism. The Public had produced a play in which a Caucasian actor had once again been cast as an Asian character. This led the AAPI actors of 1979—who were few in number with little power—to hold the first “yellow face” protest in New York theater history. Papp was ahead of his time because he invited the protesters into his office and hired one of them onto his staff to find plays for Asian actors. It was just about then that my play came across his desk. So I am the beneficiary of affirmative action, a program created and implemented by Papp.
2. How do you define the ideal relationship between the theater playwright and producer?
As a playwright, I’m looking for a producer who understands my vision, embraces it and will fight to bring it to life.
3. Did you ever have to work through creative differences with Joe Papp?
Actors Victor Wong & Marc Hayashi in a scene from “Family Devotions.”
After “FOB” was first read for Papp, he took me into his office and said that he liked the play, but had some notes. I was 21 years old and of course wanted Papp to produce my play. The problem was, I didn’t agree with his notes. But I knew enough to just listen and thank him. Six weeks later, I sent him back the exact same script. About 10 days afterwards, the phone rang and it was Papp: “The play’s great now, I’m gonna do it.”
Similarly, I found in subsequent disagreements that so long as I didn’t contradict him openly, he usually deferred to my vision. He eventually produced my first four plays.
4. When we think of Papp, we think of non-profit, for-the-public theater. Why is it important to have non-commercial theater produced?
Shows get produced commercially because someone believes they can make money. Historically, however, many plays we now consider American classics were not produced on Broadway. Papp recognized the truth that there is simply no relationship between market forces and great art.
5. How do you hope people remember Papp’s legacy?
An outsider himself, Papp sought to create a theater which “looked like New York.” In doing so, he helped unleash the creative energies of artists from previously marginalized communities, which transformed the theater, Broadway and American culture.
