Recap: The first few days

Photo credit: Lexter

After more than 26 hours of travel time and running on no sleep, I walked into the funeral home in Molino after midnight on a Friday morning. Mom immediately enveloped me in a deep hug. Dad had just fallen asleep on one of the pews having had little or no sleep for the past few days. When he saw me, he opened his eyes wide in acknowledgment, only to close them again in exhaustion.

Those first two days were filled with money exchanges, food orders, tasks delegated to family members from both sides, shopping trips, and coordinating who would stay at the funeral home. In the Philippines, when someone passes away, during the wake, or lamay, one must never leave the loved one alone. There must always be someone in the room, so family members and friends spend the night at the funeral home. Each room is equipped with a kitchenette and a full-size bathroom. Not wanting to get in the way of the process, I sat alone, scribbling in my notebook, trying to write a eulogy worthy of my aunt. When more people began to arrive for the last day of the lamay, I tried to speak with family members I met for the first time or no longer recognized or remember. A few referred to me as “Ye-Ye,” the childhood nickname I gave myself. A few commented on my inability to speak Tagalog. To my own surprise, I let the comment go, but it would torment me later. (It is unfair and inappropriate to call me an Englisero when I left the Philippines as a child and have lived most of my life in the US.)

Those first two days felt melancholy but not suffocating. (It would hit me later, usually when I am alone driving or in the early morning hours when I should be sleeping.) We were sad that Tita was gone, but we were also relieved that she was finally free again, no longer trapped in a body that had begun to deteriorate years ago. We even played a few rounds of Bingo to pass the time. The winners of the prize I offered—anything they want I’ll send in a balikbayan box—seemed blessed by my aunt, as if she was crowning them with her gratitude.

It wasn’t until the day after the funeral, on Sunday morning, that it felt like we could finally breathe collectively. I was only present for the tail end of a week-long lamay and an even longer waiting and visiting period when my aunt was in the hospital, but even I could sense the gloomy cloud lift just a little.

As a “thank you” trip, we went to Sky Ranch, a small amusement park in Tagaytay. We squeezed 16 people into a van, not including the driver. There were 21 of us in our group: my parents, me, members of both sides of my family, and a few family friends. Many of them were the ones who carried the burden of waiting, caring, traveling, coordinating, welcoming, cleaning.

It would strike me later how my parents were at the core of this gathering, now one of the few elders left of the Lares family tree. And me as the bridge between two family trees: Lares and Carvajal. For a few hours, I felt like part of one giant family, a contrast to how we grew up in America. When they say that an immigrant leaves behind a life, this is what I left behind: growing up and living with cousins, nieces, nephews, aunts, and uncles. The first few decades of living in the US were lonely. We may have been surrounded by a community of Filipino Americans in Maryland, but most of the relationships I formed then don’t go deeper than the occasional greeting at a party now or the news of life events such as engagements and births. We’re not bound to each other by DNA or shared experiences or money or legacy or expectations.

At Sky Ranch, I rode a zip line for the first time. It seemed fitting that I would ride it with my niece and nephews (my oldest cousin’s children), each of us summoning the courage to continue to climb up the stairs as the wind grew stronger. It was our shared moment, flying through the sky with the Taal volcano and lake behind us.

Class of 2022

Well, it’s been a minute.

Pardon the delay, blog. I was busy researching and writing that major paper required for graduation.

Speaking of, you can actually download and read my paper, “Looking for Our Own Stories: Asian American Representation and the Legacy of East West Players and Theater Mu,” on the MD SOAR website (Maryland Shared Open Access Repository). The presentation of my paper is also available to view. It’s worth reading the paper and watching the presentation as they reinforce one another without repeating too much of each other. (I suggest watching the presentation first.) Here’s a little snippet from my paper:

Asian American theatres have been nurturing Asian American artists and telling Asian American stories since 1965. Theatres such as East West Players in Los  Angeles; Asian American Theater Company in San Francisco; Pan Asian Repertory Theatre, National Asian American Theatre Company, and Ma-Yi Theater Company in New York City; Northwest Asian American Theater in Seattle; and Theater Mu in Minneapolis were born out of a need for Asian Americans to be seen as complex humans, to tell their own stories, and to carve out space in a field that excluded them or relegated them to minor, often stereotypical, racist roles. As Ralph Peña, the Artistic Director of Ma-Yi Theater Company states, the work of Asian American theatres is to “tell Asian stories from Asian artists, with Asian agency and centering Asian lives, therefore humanizing Asian lives….so when we do that, it’s harder to choke somebody on the subway until they’re unconscious” (Tran).

This paper focuses on two Asian American theatres that were founded nearly thirty years apart in vastly different places in the US: East West Players in 1965 and Theater Mu in 1992. This paper draws attention to theatres that have an extensive legacy of serving their communities and producing relevant programming, explores common factors that have led to each theatre’s stability and success, and interprets history through the lens of arts administration. As Asian American theatres, East West Players and Theater Mu are critical sites for negotiating identity and the evolving definition of (what it means to be) “Asian American,” and their longevity has been powered by the resilience of Asian American artists and a vital commitment to representing their communities.  

I was going to write a reflection on the research and writing process, but it’s been almost 4 months since I submitted the paper. And frankly, how much do I really remember? (And maybe, that process and reflection should just be for me.)

And yet. I want to document it here as well. Document its existence. Document my words and the words and experiences of the people I interviewed for the paper. Document and share the news that my paper was one of two papers selected as the winners of the Jean Wilhelm Award for best paper!

Is this the time for a mic drop? And champagne? Yes to both!


Since I’m on a documenting spree, might as well drop this here. I was the graduate student speaker at Commencement in May. My speech starts at around 31:35.

Can I call myself a lyricist?

It’s odd to call myself a playwright, let alone a lyricist even though I have been working on an original musical for almost two years now. I didn’t set out to be one, and to be honest, I’m not sure if I want to be one.

I look at Asian and Asian American playwrights I know or have read and I could never be on par with them. And that’s ok! There are plenty of writers, poets, and performers who are better than me. Poets and writers who have an extensive vocabulary, a way with imagery and metaphor I can’t replicate, and a discipline and persistence I’m trying to find for myself. Despite all that, I remind myself every day that I still have something to say and only I can say it in my style.

So when I joined the Yappie the Musical project back in July 2019, I was nervous and excited. I also felt a sense of freedom because I didn’t know any of the rules about theatre and musicals and songwriting so I wasn’t bound to them. One of the most emotionally draining lessons was learning about syllabification. I smile at the memory of that moment now.

I finished the lyrics to the tracks of our concept album months ago. I usually don’t have such a long period between “finishing” a piece and sharing it with the world on the blog, on social media, or in a performance (except for when I’m working on a chapbook). So I feel somewhat distanced from these songs. Did I really write them?

I try to remember what the process was like writing the lyrics. Sometimes it took 2 hours just to write one line. One line! When I felt an inkling of a line forming but it was still an amorphous blob, I learned to surrender to it, to not think too hard, and the words appeared. It was like that with part of the second verse of our single track, “One Path.” I was trying so hard to find a word that rhymed with “design.” Armed with my rhyming dictionary gifted to me by my sister when I was still in high school and several rhyme websites, I could sense I was close and the moment I let my guard down, the rest came to me, as they say. Because of that, these four lines are my favorite part of the song.

What if I try to go off-script?
A blank sheet with no design
How can you tell if you succeed
Without a course, a trail outlined

Throughout this process I’ve asked myself if writing songs is easier than writing poetry. (To be clear, I think lyrics are poems, too.) I think poems are harder to write because you can’t hide behind the music and you can’t waste words. I love so many songs more for the music than the lyrics, which may seem odd as a writer, but it’s true! My musical collaborator, the brilliant composer, Bobby Ge, and I have had several conversations about how some lyrics on their own don’t make any sense. But they sound good with the music. Some are super catchy and it sparks an internal battle of “The beat is so good but the lyrics are wack. Can I still love you?”

You may feel the same way too once you hear the rest of the concept album. And you know, that’s cool. I don’t mind. I did the best I could in that moment. I’m proud of the work we’ve done and how we managed to pivot the project. I’m grateful to the creative team, the vocalists and musicians, the sound engineers, graphic designer, and video editors for sharing their talents and time and for believing in the project (see here for a complete list).

At one of our last in-person meetings as a creative team, I shared with one of the producers that I wanted to record the songs. Not necessarily to share with the world (at this point we thought we’d have a workshop premiere in May and had yet to seriously think about its future), but something for us. A souvenir, another thing to add to our artist portfolios, proof that it happened.

The idea of a recording transitioned into a concept album that will be streamed, downloaded, and shared for who knows how long. It’s surreal to think of it that way. That even though the musical itself is still a work in progress–and it will be for a long time (Hamilton took 7 years? Hadestown took 10?)–a little piece of it is preserved in this moment. A testament to our creativity and adaptability in a time of global crises. To the enduring power of the arts.

The full concept album will be released on bandcamp on Friday, May 28.

10 years later: Tracing remnants of an artist life

The first Sulu DC show. Basement of St. Stephen’s Church, Mt. Pleasant, Washington DC.
November 21, 2009.

Two weeks ago I was part of the 10 Year Tribute + Retrospective of the AAPI Community of the DMV presented by DC APA Film via YouTube live. Christian Oh, President of the Board of DC APA Film and co-founder and former Executive Director of Kollaboration DC, reached out to me in August about recording a video for the event. (At the time, Kollaboration DC was the DC branch of the Asian American talent competition.)

We’ve known each other for 10 years now, first meeting in person at a restaurant near George Washington University’s campus. I was co-director of Sulu DC at the time and he had just started Kollaboration DC. Both organizations had similar missions and visions—to nurture artistic growth and to increase the visibility of Asian American artists. One was a talent show competition, the other a monthly showcase of artists in a variety of artistic disciplines. Cousins, you could say. Our audiences went to their shows—I even performed in the first one as a guest performer along with spoken word poets, Gowri K and Alex Cena, who is also a Sulu DC co-founder. Quite a few performers from the competition eventually featured at Sulu DC shows.

That period of time from 2009-2013 was truly extraordinary. You could sense the urgency and the hunger for spaces in which we could bring our whole selves, build community, and just have a grand old time. For many DC transplants, especially those from the West Coast, Sulu DC was a little bit of home. For those from the rest of the US, Sulu DC was a home they didn’t realize they had been searching for.

I’ve been reflecting on these years a lot in the past year. First, when I was writing my application essay for graduate school (MA Arts Administration), and then in leadership class my first semester. There are times I am weary of always thinking about it because it’s been so long since I was immersed in it and let’s be honest now, memory can’t be trusted completely. Even in this post I get the sense that I’m romanticizing that time.

One particular night stands out in my memory. It’s not from a show, but a year or so after I left the organization. I was drinking wine outside a bar with a friend in Fells Point. I shared what I had been thinking for a while but didn’t want to admit: I don’t want the best of what I have to offer to be behind me. The fear that I wouldn’t somehow do bigger and better things after Sulu DC consumed me for a while. It’s part of why I didn’t write and perform for years.

I wasn’t sure what to expect as I tuned into the live stream. Within a few minutes I found myself squealing in my room at remembering certain performances from the first Kollaboration DC competition. We were all so young. We believed we could make a career as artists. The world felt so open and endless then.

Prior to writing this post I took a look at my twitter account, which I last updated in 2015. Aside from photos and Facebook statuses, it’s the only evidence of my life back then. I stopped writing in a journal during that time and I lost all the blog posts when I discontinued my website (I know, I’m still very sad about it). What a busy little bee I was! In DC 2-3 times a week, a Sulu DC show here, a college show in Georgetown, rehearsals and meetings, hosting open mics. (Oh, and I was terrible at twitter. It was a bunch of tweets about “en route to the city” like anyone was that interested in where I’d be next. Who did I think I was? A rock star?) I was living that artist and artist manager life. I wasn’t tired yet, just eager to share my poetry and do whatever needed to be done to produce our shows. I certainly had the heart, the drive, leadership instincts, and some skills. Even more important, I was surrounded by such a supportive network, who were still there even after I left.

Now 10 years later, I am a lot more intentional, more self-assured, more forgiving especially of myself, and still angry. In the video above you’ll hear my response to what I hope to see in the next 10 years for AAPI communities. Here’s what I didn’t say but I’m saying it now. That we never have to hear the question, “Where are you from?” ever again.

“Where Are You From” written and performed by Alex Cena, Gowri K, and Jenny C. Lares. 2010.

One Year Later

Public Workshop Performance of Yappie: A Musical Comedy. Cohen-Davison Family Theatre, Peabody Conservatory, Baltimore, MD. October 4, 2019. Photo by Shealyn Jae Photography

Today marks one year after the workshop premiere of Yappie the Musical (well, half of it. We also changed the title shortly after the workshop performance.) Yappie is a creative project I’ve been working on since July 2019 with composer, Bobby Ge, and producers, Roger Wu Fu and Donna Ibale. I had never written lyrics up until last summer, and I never imagined I’d ever write a musical.

The night before I remember feeling nervous and strangely confident. I was nervous about how it would be received by the audience. Would they find it funny, endearing, irrelevant, terrible? I hoped they would enjoy it at least, but I knew deep down that no matter their reaction, I was proud of my work. Proud that I pushed myself to be a better writer even if there was a great (and very public) chance of failure. (I mean, who writes half of a musical in 2.5 months? Apparently we do.)

The night unfolded better than I could have imagined. The cast was brilliant, the audience laughed, and so many friends came out to support us. My mom and sister sat right in the center, second row from the stage. My former co-workers came together, my former students-turned-friends-for-life brought their friends, a few friends from the DC area made the trek to Baltimore (on a Friday night nonetheless!), and my dear friends from undergrad who have witnessed my writing and performing career from the beginning were there once again to see me embark on a new one. My heart grew exponentially that night. I wasn’t sure I deserved all that support. But I was and am so very happy to be surrounded by such amazing people.

Fast forward a year, and here we are, the arts in a precarious position because of a global pandemic, an economic downturn, and the very necessary uprooting of racism in arts and cultural institutions and organizations.

We were slated to premiere the complete musical in May this year and decided at the start of the pandemic to postpone the premiere to the fall. We will not be staging this production any time in the near future; however, we will be sharing a part of it with you soon. I can’t share in what form yet, but know that we’re working on it and are excited to release it into the world! 🎵🎵🎵

I know our creative endeavor was one among many that had to be delayed, change course, or shelved indefinitely. The pandemic gave me more time than I ever thought I’d have to write the lyrics and script. It also made it incredibly difficult to write. To write about anything other than missing putting on shoes, missing in-person conversations, missing any sort of contact, missing wandering the streets with no destination in mind, missing sitting at a bar drinking a pint, missing being immersed in a live performance with people in a room—an experience that really can’t be replicated. It also pushed us to flex our creative muscles and think of ways to produce a version of it with everyone’s safety in mind.

For this time around, I’m not nervous at all.

Check out the Events page and follow us on Instagram: @yappiethemusical for updates.

The Farewell

I saw The Farewell last week at the Charles Theatre in Baltimore. Having watched the trailer and skimmed a few reviews, I was ready to see Awkwafina shine and to cry out my feelings. But surprisingly, I didn’t. Not because there weren’t moments worthy of tears—I more or less psyched myself out of it.

I thought I’d walk out of the theater a crying mess because I’m sensitive to any story about grandparents, having only spent a significant amount of time with one grandmother, and never being around a grandfather. Instead I was filled with this yearning to be surrounded by my family—all of them, from both sides—and all our imperfections.

There’s a scene in the movie when the camera pans around the table and Billi (Awkwafina’s character), her dad, her nai nai (grandmother), uncle, and cousin are playing a drinking game. I may not have understood what they were saying but there was so much joy in that one moment it’s almost bringing me to tears as I recall it.

I can’t remember the exact details of a moment like that from my own history, but the feeling is familiar; I know it’s happened before. And so, the next day, with The Farewell fresh on my mind, I put aside some work and spent more time than I usually would with my mom. We didn’t talk about anything in particular; I simply accompanied her to her best friend’s house. She picked vegetables from their garden and afterwards, we all shared halo-halo (the Filipino dessert made with shaved ice, lots of different toppings, ube ice cream, and evaporated milk all mixed together, hence the name “halo halo” which translates to “mix mix”). It was a most ordinary and extraordinary Friday evening.

(Part 2 coming soon)

In my element

On Saturday I was the Master of Ceremonies for the 33rd Anniversary Dinner Dance of the Filipino American Association of Upper Chesapeake (FAAUC). My family has been part of this organization since 1996. It’s an integral part of our history and life in Maryland; my parents met many of their closest friends through the association and I grew up with a group of friends many of whom have families of their own now, although we’ve grown apart in recent years. I have hosted this event on and off since I was 16. I’ve lost count exactly how many times I’ve been MC; it all blurs together most of the time. Except for this one.

For the first time, my outfit matched how I felt inside: powerful, grown, self-assured. My hair was styled. I was wearing make up. My cue cards in my hand, handwritten numbers on the top right corner in pink marker (I wrote my script that morning). I was ready to go.

(For those interested, I wore a faux jumpsuit—black, shimmery wide leg pants and a black v-neck satin sleeveless top—with a Filipino kimona, and blush heels. I’m usually not that trendy.)

I shared a poem about balikbayan boxes which was, surprisingly, a big hit with the crowd. I became part of the cultural program providing the transitions between acts–most of it ad lib as I had only prepared the minimal thinking that I wouldn’t have to introduce each dance or singer; in the past the program has been one long medley of songs without breaks. I made people laugh.

For the first time in a long time, I showed who I was and what I could do without giving a thought to my weight or my unruly eyebrows or how I would be perceived. When I featured at Busboys and Poets at the end of March, I still didn’t take up space and was super conscious of how large I must have looked to others up on stage, the lights so intense there was nowhere to hide.

So when someone asked me why I was so beautiful that night, I said, “Because I feel good.”

I took this selfie before I left the house. I usually don’t take a selfie alone. I’m not that comfortable taking a selfie alone. But I made it a point to take one so I could look at my face and not criticize every inch of it, to recognize how long it took me to get to this point of acceptance and love, to capture me at my best, in my element.

I’ve struggled with my weight for a long time, more notably so in recent years. I dread going to the Philippines and seeing family because they’ll always comment on my weight first. Once, a childhood friend saw me for the first time after 15 years and when we were alone, his first words to me were: “Why are you so fat?”

I’m not conventionally pretty (my mom would argue that I am, but what parent wouldn’t?). Cute would be the closest I’d say. Only because of my dimples. It bothered me more growing up when comparing yourself to others is a daily ritual and none of the boys around you seemed to find you attractive. So I focused on academics and writing instead, on developing skills and my sense of humor, on community and working towards social justice, believing that in the end, those things would matter more. And they do.

It is all of those things and talent and stage presence and practice and experience and my support network that created me in this specific moment in time. We carry all of who we are every day and everywhere. And on this particular day, I felt good. Despite certain parts of my life in limbo for the past 11 months and being fabulously broke, I know who I am, I know I am powerful, I know I have a lot to offer. And I wanted to celebrate that.

Color and Creativity

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A few weeks ago, my sister and I went to Color Factory, an interactive exhibit celebrating color and creativity. It began last year in San Francisco, and this year, took inspiration from the color palette of New York City.

The exhibit was an absolute delight! Every room was a unique experience, and we had a grand old time playing, dancing, eating treats (which was brilliant!), and discovering our secret color (mine was a purple called “psychological thriller”).

One of my favorite things about Color Factory was the “Poems for the City” by Won McIntosh, a Queens-based writer. Won McIntosh translated the color palette into ten poems about daily life in New York City. The poems were displayed on the wall in the lobby for all to see and absorb while waiting in line. It inspired me to try and write short poems about the city but as someone who’s not a New Yorker and not quite a tourist either. Something in between?

Mercer Street (SoHo)
Here we are
Footsteps on cobblestones
Stepping sideways around strangers
In pace with people
Who have places to go

Canal Street Market
Here we are
Greeted by merchandise stalls and cafe regulars
A one-stop shop
Where choices are plenty
And nourishment always possible

They’re not the best poems, and have nowhere near the profoundness of Won’s poems, but hey, I’m just glad I actually wrote something! Hopefully, the trend will continue. Here’s to more color and inspiration in daily life.

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Camp Artscape

On Saturday I dragged my sister to Artscape in Baltimore. This is the third year in a row I’ve gone to Artscape. The first was in 2015 when I volunteered for a few shifts. Now it’s slowly becoming a summer tradition.

Like last year, I was looking forward to the artist market. I love walking from booth to booth, admiring the art, and buying artwork when I come across something I love (and within my budget, of course). Last year I bought a screen print of the English alphabet and numbers in highlighter pink from Baltimore Print Studios. It’s on display at my work desk and served as the inspiration for the rest of that particular wall of my cubicle.

I didn’t walk away with artwork this time, but I did buy a ring made from traditional Japanese textiles by Tigerlilly Shop. It’s so pretty I want to wear it every day! (no pic, unfortunately).

Shortly after I bought the ring, it started to drizzle. Neither of us checked the weather before we left the house. (I swear it was only supposed to rain on Sunday!) But we continued to walk through the streets keeping our fingers crossed that the summer storm would hold back, even just a little.

No such luck.

At least we were able to get food right when the wind picked up. We walked through the rain, clutching our bowls of bibimbap until we found a building with an overhang.

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Our view as we ate with our backs to the wall of some building.

I actually love summer rain storms. (Don’t let this post fool you). Running through the rain, not caring about my clothes getting drenched. There’s a sense of freedom somehow in letting the rain wash over you while others hide from it like it’s the proper thing, or the only thing to do. But I digress. This post is about Artscape, not rain storms.

After eating lunch we went in search of ice cream and caught a few musical acts along the way. On the way back to the car I spotted the cutest little sunglasses. There it was, just chillin on the bricks.

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And that, my friends, was our time at Artscape 2017. Seriously, aren’t the sunglasses just the cutest thing?

(I’m still getting used to writing recaps so forgive the lack of focus of this post).