`There is no shortage of stories with a self-insert main character. When writers start out, they are often told to “write what they know”, and what could they know better than themselves? A similar personality trait here, a shared traumatic life event there, and a once-flat character becomes all the more compelling and fully realized. But Yellow Face takes this idea of a self-insert to the extreme, depicting writer David Henry Hwang’s own life, career, and family while adding in humorous and exaggerated elements that allow him to further tackle his own identity. It’s one of the bravest works I’ve ever seen. It’s also one of the funniest! 

Yellow Face follows David Henry Hwang (Daniel Dae Kim) after the success of his Tony-winning play M. Butterfly. He protests against the casting of Jonathan Pryce in Miss Saigon unsuccessfully, only to accidentally cast white actor Marcus (Ryan Eggold) as the Asian lead in his next play Face Value. In an effort to save face, he pretends Marcus is biracial, only for the actor to grow attached to the Asian community he has lied his way into. All the while, his idealistic father Henry Yuan Hwang (Francis Jue) offers a unique perspective on his various crises. What ensues is a guaranteed laugh a minute, especially with Daniel Dae Kim’s ridiculous facial expressions and Francis Jue’s sincere line deliveries that hammer every punchline home. Until the jokes start hitting harder and closer to home, no longer merely touching upon themes of race and identity but interrogating them thoroughly. David Henry Hwang’s father’s arc is most indicative of this, beginning the show as a wide-eyed believer of the American Dream and ending it as a cynic after understanding how this country truly views him. The laughs never outright cease, but there’s a pathos in the second half of the play that gives the jokes more weight when they occur.

Beyond the dialogue, there are a number of unique creative choices made in this play that make its themes land, such as the casting; outside of our main three characters, we have a trio of actors (Kevin de Aguila, Marinda Anderson, and Shannon Tyo) who play several minor characters regardless of the character’s race. Except when the character’s race is crucial to the brief scene, and the specific casting allows for the simultaneous nuance and comedy that makes this show work so well. Race shouldn’t have to matter, except when it absolutely does. The lighting is another standout, as it often accentuates punch lines, emphasizes the show’s quick pace, and allows the audience to easily suspend their disbelief when actors are playing bit roles that they do not fit the physical characteristics of. Truly, everything about Yellow Face feels intentional and thought-provoking, even as you’re laughing throughout it.

At the heart of David Henry Hwang’s half-autobiography, half-farce Yellow Face is a question of what it means to be Asian. Can you be Asian despite not looking like the stereotype? Can you be Asian if you do not constantly advocate for your community? Can you be Asian if you are white, without a drop of Asian blood in you? But most of all, can you be Asian if you live in America, where your very race is seen as more fundamental to your character than your ideals, where being Asian and being American are falsely pitted against each other as opposites? These questions drive practically every scene of this hilarious but brutally authentic play. The Leigh Silverman revival of Yellow Face starring Daniel Dae Kim takes a brilliant script and elevates it further with intentional creative choices that make its themes hit that much harder. It is a must-see from this past Broadway season and can thankfully be streamed here for free until July 30th. Do yourself a favor and check out this Tony-winning revival.

9/10