Asian American Plays, by Authors (L)

Lam, Greg

• Stick and Move (Boston Theatre Marathon, 2008)
  Ten minute play: A couple on their first date learn that when the date is on, it’s always good to have someone in your corner.
• Chaplin & Keaton on the Set of Limelight
  Silent Comedy legends Charlie Chaplin and Buster Keaton worked together only once, on Chaplin’s last movie before being exiled from the United States. For the deeply autobiographical Limelight, Chaplin cast the down on his luck Keaton to play a small part in his nostalgic story of an old comedian doing one last performance. This play  explores the tension between the desire to entertain and the need to fight for a greater world in politically dangerous times. What responsibilities does an artist have beyond bringing a smile to the face of an audience?
• Repossessed (Pork Filled Productions, 2017)
  Rich and Gretchen seem to have the ideal marriage, until they learn that it was manufactured by a mysterious biotech company which installed it into their brains. Because they can no longer afford this service, the company must repossess their improvements.
• The Trouble With Maise
  10 MINUTE – The relationship of two siblings is threatened by the reappearance of a ventriloquist’s dummy named Maisie. Co-authored by Walt McGough. THE TROUBLE WITH MAISIE is an outrageous look at the perils of relationships, familial, human, and otherwise.

• The Fallout
  10 MINUTE – In 1962, a couple feverishly pack to escape a coming doom- When a knock on the door is heard. They prepare themselves for the worst, but it turns out it’s just their neighbors who haven’t seen the evening paper… yet.
• Crossover Fiction
  10 MINUTE – A sci-fi heroine takes a journey into a strange new world… Earth!
• The Line
  10 MINUTE – People wait in a very long line that doesn’t move for a very long time. We find out why.
• The Dowry of Princess Talia
  ONE ACT – A sweet but hapless and dimwitted suitor wants to win the hand of the feisty and intelligent Princess Talia, and so he must complete several daunting quests. He has no chance, unless the resourceful princess gives him a hand without his knowledge.

Lampitoc, Sunshine Pearl

• A Virgin/Whore Duplex (EWP, 2001)
  Surrounded by porn movies, the demise of marriage, and apple martinis, one young woman lies her way to the truth.

Landayan, Rudy

• I Heart Hell A (EPW, 2009)
  Dreams, stars, smog & traffic. An ensemble driven performance art piece about the love hate relationship with the city we call Los Angeles.

Le, Dan Sach

• Saigon Sisters (Mu 2012)
  Come hear the first act of this new play inspired by Anton Chekov’s, The Three Sisters.

Le, Viet

• Rage (EWP, 2003)
  Family. Felon. Is Tommy Nguyen a good boy or a gang banger?

Lee, Alex

• Three Lives (1999)

Lee, Annette

• A Dirty Secret Between Your Toes (EWP: Paper or Plastic, 1999)
  Chuck and Helen — the new Asian American couple — have moved into this picture-perfect cul de sac with a dirty secret. Jose, the gardener, helps to keep their insatiable desires and clandestine activities hidden from this upper class neighborhood… all the while harboring his own little secret. When the neighborhood association president comes knocking, watch sweet little suburbia flip into a new picture of disturbing, disruptive and deliciously dirty revelations!
• Walk the Mountain (Wells Fargo Radio Theater 2000) –
  A radio play about a Chinese man’s journey to 1880’s San Franciso to bring his father home to China.
• One Cold Dark Night (Wells Fargo Radio Theater 2001) –
  A radio play comedy about a 1950’s Chinese American family and the Chinese ghost stories they share.
• Lynn 1, Lynn 2 (Marianne Murphy Women & Philanthropy Play Reading Series. 2007)
  Lynn things she lives alone – or does she?
• 29/12 (Upper Reaches Theater 2007)
  Casey looks like any other seventh grader, but he shares a secret with his grandfather that keeps his demons at bay.
• Negation Delirium on Toast Points (UCLA, 2007)
  A woman comes home and finds it mysteriously redecorated. Is it her imagination, another demension, or the stranger on her couch?
• Life Outside the Body (UCLA 2008)
  Chuck’s body has always been breaking down on him, but that’s nothing compared to what’s really broken. Can one magic drug fix it all? (one-act)
• Hacinda Heights (Lodestone, 2008)
  The Hsiungs have always been a strange family, but things get stranger when the Census Taker arrives. (One Act)
• Higher Up (Theater Masters 2008)
  When the ‘new guy’ shows up for work, Toi and Charlie experience firsthand what it’s like to be in the dog house. (10-min)
• English Only (UCLA, 2008)
  1986. Everything is big. The hair, the shoulder pads, the prom dresses… but nothing is bigger to 17 year old Scarlett Wong than what’s going on at City Hall. A look into race, culture, and the Official English referendum in Monterey Park, California.
• Happy Talk: a romantic urban fairytale (Another Chicago Theatre Company, 2008)
  Gina loves Bob, but Bob isn’t free to love anyone until he’s free of his mother. Could the answer be in a pair of a fabulous ladies shoes? (One Act)

Lee, C. Y.
Author of The Flower Drum Song.

• The Body and Soul of a Chinese Woman (Stella Adler Theatre, 2006)
  It tells the story of Amy Wu, a recently divorced, young traditional folk dancer from China who struggles to reconcile her sensuality and intellectual nature while dealing with a traditional Asian American aunt and an ex-husband who wants to come back into her life.
• The Fan Tan King (Pan Asian Rep, 2006) A musical with music by Douglas Lackey
  The Fan Tan King is adapted from Mr. Lee’s novel, DAYS OF THE TONG WARS, set in late 19th century San Francisco, when Chinese pioneers arrived to the Land of the Golden Mountain in their quest for the American Dream. The Fan Tan King is Peter Fong, a gambling czar and businessman; Peter has a wife, who pines for a simpler life and more children to join her only son. His authority is challenged by his rival, Sam Fat, who wants control of Chinatown. There are a dozen colorful supporting characters who epitomize the diverse Chinatown community.

Lee, Cherylene

A former child performer, dancer/actress, paleontologist/geologist, and wastewater (yes, sewage) treatment consultant, Cherylene Lee’s writing also includes poetry, short fiction, and a novel.  A fourth generation Chinese-American, her writing examines the broad spectrum of Asian-American experience.  Her poetry and fiction have been widely published and her short stories anthologized in American Dragons (Harper Collins, 1993) and Charlie Chan is Dead (Viking/Penguin, 1993).

Recipient of a San Francisco Art Council Grant in Literature, she has also received a Fund for New American Plays Grant, a Rockefeller MAP Grant and has been a co-winner of the Mixed Blood Theater’s Playwrights competition. She was also chosen for the O’Neill National Playwrights Conference, the Sundance Playwrights Lab, an Asian Theater Workshop Fellowship with the Mark Taper Forum, and a San Francisco Grants for Arts Commission through Z Space Studio. In 2015 Cherylene published her personal memoir Just Like Really An Uncommon Chinese American Memoir. On March 18, 2016, Cherylene died in her sleep with her two sisters at her side

• Pyros (1983)
• Aesop’s Fantastic Fables (1984)
• Wong Bow Rides Again (East West, 1987)
• The Ballad of Doc Hay (Marin Playhouse, 1987)
• Overtones (Kuma Kahua, 1988)
• Bitter Melon (1990)
• Yin Chin Bow (Pan Asian, 1990)
• Memory Square (1991)
• Arthur & Leila (East West, 1993)
• In the Spirit (Mayer Theatre, 1993)
• Knock Off Balance (1995)
• Lost Vegas Acts (1997)
• Carry the Tiger to the Mountain (1998, Contemporary Theater Festival)
  In June of 1982 Vincent Chin was beaten to death by two unemployed Detroit auto workers. Carry the Tiger to the Mountain is an epic dramatization of the true life story o the victim’s mother, Lily Chin, and her journey from postwar picture bride to civil rights activist in search of justice for her son.
• The Legacy Codes (Theatreworks, 2003)
  Inspired by the stunning saga of nuclear physicist Wen Ho Lee, this fascinating new drama is as hot as today’s headlines. Underscored by a brilliant fusion of Chinese, jazz, and hip-hop music, it weaves our era’s mystifying codes of law, culture, computers, and romance into a masterful family drama, the tantalizing tale of a Taiwanese-born scientist accused of compromising America’s national security.
• Antigone Falun Gong (Aurora Theatre Company, 2004)
  This adaptation of Sophocles’s great tragedy is re-set in contemporary China and explores how the past connects to the present, the persecution of the Falun Gong, and how there may be more to America’s global reach than we imagine. Utilizing forms of Tai Chi, Wu Shu, Kung Fu, Chinese opera movement as well as the five Falun Gong exercises, this world premiere dramatizes the story of a lone woman defying a repressive government in a beautifully unique and provocative way.
• Mixed Messages (EWP, 2004)
  Mixed Messages explores the journey of a “mixed” woman (Japanese, Chinese and British) who discovers that her cranial features are extremely similar to that of the 9,000 year-old women fossil found in the La Brea Tar Pits in 1914. The realization sparks emotional duels pitting science against culture, ethnicity against heritage, and the individual against institutions in defining those of “mixed” backgrounds.

Lee, Edward Bok

ED BOK LEE’s first book, Real Karaoke People (New Rivers Press), was a recipient of the Many Voices Project (MVP) Award and “contains outrage…tenderness [and] searing honesty…vital to the American landscape. The vitality of the country, its capacity to absorb the rich and the strange, is nowhere clearer…” (San Francisco Chronicle).

Lee attended kindergarten in Seoul, grew up in North Dakota and Minnesota, and has since lived in a half-dozen cities around the world. He has studied Slavics at the Universities of California—Berkeley, Minnesota, Kazakh State—Almaty, Indiana University, and holds an MFA from Brown University. Various writing awards include grants from the National Endowment for the Arts, the Minnesota State Arts Board, the Loft Literary Center, SASE, and the Jerome Foundation.

• Athens County (Brown University, 1997)
  A farce, where Mommy Kills Daddy.
• St. Petersburg (The Public, 2000)
• Passage (Theater Mu, 2001)
  The story follows a daughter’s return to her homeland to visit her father, who is near death. But before the old man can be released from this world, he must clear up secrets and business with his daughter. It’s a mythic version of the need to reconcile and remember the past, Kim said.
• Whorled ()
• Leavetaker ()
• El Santo Americano ()
  Ten Minute play. Clay, a washed-up professional wrestler, kidnaps his estranged wife Evalana and their child, and heads for the border. He hopes to re-invent himself in Mexico as a champion wrestler, and save his failing family from certain doom. An unexpected rest stop in the middle of the desert throws a monkey wrench in his plans, when Evalana finds herself with an opportunity to escape — but not before Clay articulates his love for her and their child one last time. Will she go, or stay? Or will something more mysterious happen in the darkest heart and hour of this magical vision of the post-American Dream?
• Glow III (Mu Performing Arts, 2007)
  At a time when soldiers lessen the effects of post traumatic stress disorder by the practice of first maiming animals, and McDonalds offers a popular Spirit Burger, a shape-shifting cast of Everyday People attempt to navigate their troubled lives through futuristic dysfunction. Ethics, Philosophy, Pop-psychology, Race, Socio-economics and Religion all serve as launching pads into the absurd.

Lee, Gene

• We Used To Toast To The Dreamers…Now We Just Drink (East West 2010)
  “We used to toast…” is dark and familiar. It broods fiery and unsettling like one too many shots of bourbon. Its voice is harsh and one gets the impression that the author does not want to step lightly over the graves of artists.
• Ladies and Gentlemen (East West, 2013)
• A heavyweight contender gets the opportunity of a lifetime, but must choose between the two men she loves.

Lee, J.

• Wooing Annie (East West, 2001)
  “Welcome to L.A! Now go home.” For Canadian Annie Woo, it’s hard to leave a place with “spicy kimchi” like Josh and “green tea and ham” like Mason. Should she stay or should she go?

Lee, JC

• Luce (Lincoln Center Theatre, 2013)
  When a teacher makes an alarming discovery about Luce, an all-star high school student, Luce’s parents are forced to reckon with their idealized image of their son, adopted years ago from a war-torn African country.
• Crane (Ferocious Lotus, 2015)
  When Sadako stumbles into a cabin in the mountains in the dead of winter, she meets Bradley, a young, hermitic artist who once created a great work but has since descended into mediocrity. He now risks being dropped by his pushy agent if he doesn’t produce another masterpiece. After taking in this mysterious woman, Bradley soon discovers that Sadako has her own secret talent that could potentially save him. But at what cost?

Lee, Ji Hyun

Ji Hyun is a playwright moonlighting as investigative reporter. She has covered the University of Michigan’s affirmative action trials for Asian Diversity and the recent sweatshop cases in California for Hyphen magazine. She is a graduate of Columbia University.

• The Superfirends of Flushing Queens (AATC, 1999)
  Picture four Asian friends: a Korean, a Chinese, a Japanese and a Vietnamese, who struggle for the perfect grade in the academically advanced Flushing High School. But underneath all the ethnic stereotypes, the girls endure dysfunctional home lives and long to escape from their oppressing families with that scholarship to Harvard. As soon as one friend is in trouble, they morph into their altar egos Wonder Girl,, Slut Girl, Dyke Girl and Nerd Girl and jump into their Invisible BMW to rescue those friends in need. Because whatever may ail them at home, when they’re together and in school, they will always be the Superfriends of Flushing Queens.

Lee, JJ

• Measure of a Man (Vancouver Canadian Theatre, 2013)

Lee, John K.

• From Berdoo to Bonneville (EWP, 2016)
  Chino Kim, a talented but unheralded custom motorcycle builder, has a Harley Davidson sized chip on his shoulder that he can’t seem to cut, grind, or weld away. After seven years of uncompromising dedication to his aesthetic vision, a personal tragedy and the fear of lifelong anonymity force him to reconsider his hardline stance.

Lee, John Quincy

• Merica (Pan Asian, 2008)
  A comedy of haves and have-nots. Constance visits Beijing in hopes to meet her only granddaughter, Merica, for the first time. Ming Quan,Merica’s other grandmother will the meeting to take place if certain conditions are met.

Lee, Kimber
Her work has also been presented by The Lark, Page 73, Hedgebrook, Seven Devils Playwrights Conference, Bay Area Playwrights Festival, Old Globe Theater, and Magic Theatre. Lark Rita Goldberg Playwrights’ Workshop Fellow, Dramatists Guild Fellow, Ma-Yi Writers Lab, and recipient of the 2014 Ruby Prize, 2013-2014 PoNY Fellowship, 2014-2015 Hartford Stage New Voices Fellowship, and the inaugural 2015 PoNY/Bush Theatre Playwright Residency in London. MFA: UT Austin.

• Topper
• Fight (ACT, 2012)
• brownsville song (b-side for tray) (Bay Area Playwrights Festival, 2013)
  In a Brooklyn neighborhood housing project, time moves in scattered rhythms, pivoting unpredictably between before and after. As members of Tray¹s family struggle with his untimely death, they stumble through loss, find each other, and fight their way toward hope.
• different words for the same thing (Center Theatre Group, 2015)
  Thirteen years and 1,800 miles separate Alice from her childhood home. But after one phone call, the small-town streets and characters that once shaped her come rushing back and threaten to never let her go.
• Tokyo Fish Story (Theatrworks, 2014)
  Generations, gender, and tradition collide as a Sushi Master struggles to preserve ancient artistry in a society obsessed with change. In pursuit of perfection, a brilliant protégé, eager apprentices, and the master himself have much to learn.
• to the yellow house (The Lark, 2016/La Jolla Playhouse, 2021)
  “It’s February 1886. Vincent Van Gogh is broke again. Trailing past due notices and annoyed innkeepers, he arrives unexpectedly at his brother’s doorstep in Montmartre determined to make another fresh start. Caught in the colorful whirl of the Parisian art scene, he drinks too much, falls in love with the wrong woman, argues with everyone — and paints.

Lee, Kristina Haruna

• Suicide Forest (Bushwick Star, 2019)
  the play is about Japanese salaryman desperately searching for his self-worth, and a lonely teenage girl grappling with her sexuality in a nightmarish, male-defined society.

Lee, Maggie

Maggie Lee is a writer, actor, producer, lighting designer, and puppet mistress for the Pork Filled Players, Seattle’s only Asian American sketch comedy group. She has also designed lights and puppets for other local theater companies, such as ReAct, GreenStage, Open Circle Theater, and SIS Productions.

In 2006, she adapted a stage version of H.P. Lovecraft’s The Thing on the Doorstep for OCT’s The Colour Out of Space, and will be a contributing writer for their original Lovecraft-inspired show Necronomicon in October 2008. She has a BA in English and a minor in Lighting Design from UC Berkeley.

• Kindred Spirits, formerly Light the Corners of My Mind (SIS Productions, 2008)
  What does it mean to truly be haunted? Three tenants of a lonely old house, all with lingering pasts determined never to let go, will discover the answer in this modern ghost story (Also known as Kindred Spirits).
• A Long Fatal Love Chase On A Distant Star (SIS Productions, 2009)
  On a remote sentry ship at the edge of the universe, poised on the brink of intergalactic war, Louisa May Alcott’s forgotten scandalous novel of love and obsession finds new life being shared by a unit of rookie mecha pilots, blurring the line between science fiction and “sensational” fiction.
• The Clockwork Professor (SIS Productions, 2010)
  First of the New Providence Chronicles. Seamus Pemberton, otherwise known as the Clockwork Professor, is a humble inventor, a quiet, eccentric man of science. But now, buried secrets and forbidden technology from the past threaten to destroy everything he holds dear, perhaps even rocking the very foundations of the city of New Providence. From underground laboratories to royal airships to dimension-hopping portals, come join the Clockwork Professor on this whirlwind adventure of fantastical science fiction with a steampunk twist!
• The Tumbleweed Zephyr (SIS Productions, 2011)
  Part of the New Providence Chronicles. Two brothers set off from the city of New Providence for the Western Territories on the transcontinental train, the Tumbleweed Zephyr. But a simple journey by rail soon leads to adventure, romance, and long-lost echoes from the past, like a lonely train whistle through the deep desert sky. All aboard for a sci-fi Old West yarn with shiny brass steampunk trim!
• The Sunshower Bride (Live Girls, 2012)
  About a zoomorphic pre-wedding revelation
• A Hand of Talons (SIS Productions, 2012)
  Part of the New Providence Chronicles. For generations, the Yao family has been the ruling crime syndicate of the city. But now, Wilhelmina and her two siblings must do whatever it takes to win at a high stakes game of power and betrayal as the family empire threatens to crumble around them. Ante up for a hand of sci-fi noir in the seedy underbelly of the steampunk-inspired world of New Providence. If you can’t trust family, who can you trust?
• A Silver Key and The Roots Run Deep (SIS Productions, 2015)
  An evening of one-act plays inspired by the fantastical dreamscapes and creeping horrors of H.P. Lovecraft. In A Silver Key” a mysterious key opens a door into the dream world on Eleanor’s 30th birthday, as she wavers on the threshold of modern day adulthood. In The Roots Run Deep, Iris searches for her lost sister, who disappeared after the discovery of a strange mask tied to the dark secrets of their unknown ancestors.
• The Echo Maidens (SPT, 2016)
• The Journey of the Bell
  Ida and Lisbeth have always been best friends, until the sound of a mysterious bell leads them apart on very different paths. As they journey through Hans Christian Andersen’s timeless fairy tales, will Ida and Lisbeth ever find their way back to each other, or will their friendship be lost forever? Stories include The Bell, The Shepherdess and the Chimney Sweep, The Ugly Duckling, What the Good Man Does Is Always Right, The Flea and the Professor, and The Nightingale.
• Paper and Ink (Live Girls)
  Two sisters unlock an ancient lurking evil from within the pages of a dusty old book. But how can the madness be real if it’s only just paper and ink?
• The Blindman’s Daughter (SIS Productions)
  A Korean American father shares the story of Shim Chung with his young daughter, and discovers a new lesson for himself in a fun, modern retelling of this time-honored tale of familial duty and sacrifice.
• The Flight Before Xmas (Seattle Public Theatre, 2017)
• Sheathed (Macha Theatre Works, 2019)
  In the aftermath of a devastating war between clans, two swordswomen try to find their way forward in this strange new world of peace: one trying to escape her past, and the other driven by an inherited thirst for revenge. When your very existence is defined by your blade, how do you keep the violence within yourself sheathed? A tale of an unlikely friendship tested by the bonds of honor and the terrible price of forgiveness, “Sheathed” combines movement and storytelling in an exciting new way to explore the emotional depths of why we fight.
• Rainshadow Dispatch (Pork Filled Productions/Cafe Nordo, 2022)

Lee-Yang, May M. 

MAY LEE-YANG is an award-winning playwright, poet, prose writer, and performance artist. She has been hailed by Twin Cities Metro Magazine as “on the way to becoming one of the most powerful and colorful voices in local theater.” Her theater-based works have been presented locally at Mu Performing Arts, the Center for Hmong Arts and Talent (CHAT), Intermedia Arts as well as nationally at Out North Theater (Anchorage) and the National Asian American Theater Festivals in Los Angeles and Philadelphia.

Her plays include Hmong-Lao Friendship Play or Lao-Hmong Friendship Play, Confessions of a Lazy Hmong Woman and Ten Reasons Why I’d Be a Bad Porn Star.  In 2012, her company, Lazy Hmong Woman Productions, produced a Hmong-language version of Confessions of a Lazy Hmong Woman to create accessibility for people who spoke little/no English, were new Americans, or had never seen theater before. In 2014, she launched Letters to Our Grandchildren, a theater/food/storytelling/video project with Hmong elders.

She is the author of the children’s book The Imaginary Day (MN Humanities Center/Council on Asian Pacific Minnesotans) and has been published Bamboo Among the Oaks: Contemporary Writing By Hmong Americans, Water~Stone Literary Journal, The Saint Paul Almanac, and others.

She is a 2016 recipient of the Ordway Sally Award for Arts Access and a 2011 Bush Leadership Fellow. She has received additional support for her artwork from the Minnesota State Arts Board, the MRAC Next Steps Grant, the Jerome Travel Grant, the National Performance Network, the Midwestern Voices and Visions Residency Award, the Playwright Center, and the Kundiman Retreat.

She also teaches creative writing and theater to teens and elders through COMPAS, St. Paul Conservatory for Performing Artists, and Mu Performing Arts. In other parts of her life, she is a co-founder of Community Artist Leadership Initiative (C.A.L.I.), an organization whose mission is to build the leadership capacity of marginalized artist and is a co-founder of F.A.W.K. (Funny Asian Women…K), a collaborative to empower Asian women through comedy.

• Anatomy of Hmong Girl: A Memoir Told in Body Parts (Mu Performing Arts, 2007)
  The Hmong believe that when someone is born their placentas are buried underneath their homes, so when someone dies, they can find their way back home. What happens when you don’t know where your placenta is? ANATOMY is an exploration into the search for home. Part memoir, part political statement, this peice focuses on how Hmong Americans have been continuously dissected and how we attempt to flesh out and re-assemble our real voices and experiences.
• The Divorcee Diaries (Mu, 2014)
  The new play chronicles the Hmong sexual revolution. Set against the backdrop of a nightclub, four people explore the fun, the fear, and the fantasy of divorce as they drink, flirt, fight, and try to make sense of lives in transition.
• The Moon Embraces the Song (Mu, 2017)
  When a k-drama addict with a secret meets a Korean heir who has been banished to the Midwest, fantasy collides with reality in this romantic comedy about fate, cultural clashes, and the art of losing one’s virginity.
• A Long Time Ago Today (Mu Performing Arts, 2018)
  Writer May Lee-Yang weaves history, folktales, and her personal life to show how Hmong people use stories to make sense of the world around them: How did the Moon and Sun come to rule Night and Day? Why are some people left-handed and others right-handed? How do you keep culture and stories alive without books? What happens to people if they forget where they’re from?
• The Korean Drama Addict’s Guide To Losing Your Virginity (Theater Mu, 2018)
  She’s a Hmong personality coach addicted to Korean Dramas (Korean soap operas). He’s the heir to a Korean manufacturing giant banished to the new Midwest office. Will she find a man before the magic hour of her 30th birthday? Will he buck tradition and embrace his musical dreams? Fantasy collides with reality in this romantic comedy about fate, cultural clashes, and the art of losing one’s virginity.
• Dandelion Girl (Theater Mu, 2019)
  When a bully tells 8 year-old Payton she’s nothing more than a dandelion (a weed, ordinary, and yellow on top of that), she turns to her dad for help. Dad share his own experience growing up in the United States as a first generation refugee.  Back in the day–the eighties–Dad taught himself martial arts by watching and practicing Kung Fu. But Payton doesn’t care for Kung Fu and must learn how to face bullies without fists.

Lee, Minna

• One Horse Town (2020, Annex)
  After the apocalypse, a trio of queer ranchers are protecting the last horse on earth from a group of starving runaways, who are trying their best not to become cannibals. All of them, ranchers and runaways alike, struggle to remember what makes them human in a world urging them to forget their compassion and their sanity. Minna Lee (The Devil and Sarah Blackwater,Rovers!), Grace Carmack (Silhouette, Puny Humans), and Omar Faust (Nite Skool) helm an ensemble in a story about survival and transformation.

Lee, Robert

• Heading East (East West, 1998) libretto
  A funny, slightly off beat musical about a family retracing its footsteps from 1848 to the present.

Lee, Soo-Jin 

Soo-Jin Lee is a playwright and an English teacher.

Her plays include The Men My Mother Loved, Why Koreans Don’t Hug, Peaches, and Tigers, Dragons, and Other Wise “Tails.” Her work has been produced at the Discovery Theater, George Mason University, the University of Houston, the University of Texas at Austin, and the University of Wisconsin-Milwaukee.

Born in South Korea, Ms. Lee was raised in Virginia. She holds a BA from George Mason University and an MFA from the University of Texas at Austin. She is a proud member of the Dramatist Guild.

• Peaches (University of Houson, 2005)
  This play explores the relationship between two Korean American best friends, Ji Hae and Robert, as they discuss interracial dating, growing up Asian in America, and finding love in their 20s. The play chronicles one summer weekend they spend together, starting with a wedding and ending in a peach orchard that changes their lives.
• Tigers, Dragons and Other Wise Tails! (Discover Theatre, 2005)
  A world premiere by playwright Soo-Jin Lee, dances by acclaimed Washington choreographer Dana Tai Soon Burgess, DT artist Michael (Black Diamond) Bobbitt directing. Animal tales blend the beauty, wisdom, and fun of ancient Asian culture in this original musical play created to celebrate Asian Pacific Heritage Month. Ages 4–10
• Why Koreans Don’t Hug (University of Texas New Theatre, 2008)
  Intimacy. Betrayal. Misplaced love. A Korean immigrant family, through an unexpected act from their Reverend, is forced to deal with the elephant in their room.
• The Men My Mother Loved (Pipeline Playwrights, 2017)
  A vacation to Korea turns a mother-daughter exploration into a fantastical exploration of why it’s worth reuniting with ex-boyfriends.

Lee, Suzanne
Bio: Suzanne Lee is a LA-grown and New York-based playwright/screenwriter/entrepreneur. Her current project is adapting WORTH into a screenplay. She is a MFA candidate at the Yale School of Drama.

• Ancestors (NY Theatre Workshop, 2000)
  Byung holds a terrible secret from her past. Suni, her daughter, doesn’t know anything about it. When the father commits a terrible act, however, information comes flying out of the woodwork. As a family dynasty unravels, a nation and culture re-build.
• Witness (NY Theatre Workshop, 2000)
  Dolores and Antonia are two Dominican New Yorker sisters. One is terrifically straight, the other is terrifically gay. After a devastating love affair gone wrong, Dolores rebounds into the arms of a traditional Irish Catholic man who has less than modern ideas of how to raise a family. Choices have to be made – what do you do when the consequences of your choice are less than beautiful?
• S/h-E (Asian American Alliance, 2001)
  A one act genderfest.
• Worth (Mark Taper, 2003)
  America’s gone bankrupt, Enron-style. The rights to the fantasy are up for sale. A family fracas comprised of a father, a daughter, a rich widow and a best friend ensues. In the gamble of life, when you’ve lost everything you built your dreams on, how much more does it cost to lose yourself? Served Korean buffet style, striptease and karoake not included.
• Ancestors (Ma-Yi, 2006)

Lee, Young Jean
Young Jean Lee has directed her plays at the Ontological-Hysteric Theater and Soho Rep. She has performed with the National Theater of the United States of America (What’s That On My Head!?!), studies playwriting with Mac Wellman at Brooklyn College, and is a member of 13P. With her Straight White Men, she became the first female Asian American playwright to appear on Broadway.

• Groundwork of the Metaphysic of Morals (Ontological-Hysteric Theater)
• The Appeal (Soho Rep)
• We find Wordsworth as a guest of Coleridge and his sister Dorothy at Grasmere. Later, the “action” will move to the castle of Lord Byron in the Swiss Alps. Poetry, it seems, is borne of an admixture of thought, anxiety and booze.
• Pullman, WA (PS122, 2005)
  Pullman, WA is a play about what to do if you’re unhappy and everyone around you is kind of an asshole, including yourself.
• Songs of the Dragons Flying to Heaven (Cowboy Vampire Theatre, 2006)
• Church (2007)
• The Shipment (2009)
• Lear (2010)
  A collision between Shakespeare’s King Lear, Sesame Street, and Young Jean Lee’s own take on the theme of dealing with a father’s mortality, Lee’s LEAR focuses not on the aging Lear and Gloucester, but rather on their adult children who turned their backs on their fathers’ suffering. An absurdist tragedy about familial piety, despair, and the end of life.
• We’re Gonna Die (2011)
• Untitled Feminist Play (2012)
• Straight White Men (2014)
  The play follows a middle-class father and his three sons as they celebrate Christmas together while each facing his own issues.

Leichman, Seymour

• Freddie the Pigeon (NWAAT, 1975)

Leo, Katie

• Jess and Sally are Back in Town (Mu Performing Arts, 2007)
  Jess and Sally are as different as can be, yet know each other as only two sisters can. After years of estrangement, they convene at the home of their mother for her funeral, only to discover that the past never truly dies. Jess and Sally are Back in Town explores the complex, often humorous, relationship between two adopted Korean sisters as they sift through relics of family, heritage, assimilation, choices, and their own strained lives.
• Four Destinies (Mu Performing Arts, 2010)
  Destiny Jones is a Korean adoptee growing up in Minnesota…no, Destiny Jones is an African American adoptee growing up in Minnesota…no, Destiny was born in Guatemala…no, Destiny is a Caucasian boy…! In this satirical exploration of fate, DNA, arrival stories and the families that love them, playwright Katie Leo represents every adoptee ever born and gives all her characters exactly what they want.

Leong, Page

• attraction (Cornerstone, 2008)
  Explore what draws people to place, to one another, and what pulls them apart, at the intersection of an urban global village experiment- at Traction Avenue. Dive in to our neighborhood’s kaleidoscopic spirit, its magic, history and mystery.

Lew, Andy

• Welcome to the Wongs (NWAAT, 1999)
  Welcome to the Wongs is a hilarious story of a family dinner spinning out of control and the interesting twists and mishaps in the lives of three generations of Chinese in America. The story is told from the point-of-view of a young Chinese American boy who is constantly bombarded with inter-generational family politics and traditional culture while questioning his own ideas about relationships, culture and family. With a cast that will have you laughing and crying in your seats, this is a workshop presentation not to be missed!

Lew, Michael
Michael Lew was a 2003-2004 directing resident at Playwrights Horizons, assisting on Craig Lucas’ Small Tragedy, Jon Robin Baitz’s Chinese Friends, and Erin Cressida Wilson’s Wilder. He assistant directed the Drama Dept’s 2004 Downtown Plays, and has also assistant directed at the Mark Taper Forum and for Primary Stages. He has held literary residencies at Playwrights Horizons and La Jolla Playhouse and was associate artistic director of Gorilla Repertory Theater, producing their 2003 season. He holds a B.A. in English and Theater Studies from Yale University and was in the 2005 Lincoln Center Director’s Lab.

• Yit, Ngay (One, Two) (Women of Color Arts and Film Festival, 2003)
  This one-woman show is based on the separated childhood of four Chinese women; two were born and raised in Toi San, China and two were born and raised in Fresno, CA.
• Paper Gods (Ma-Yi, 2006)
• Moustache Guys (2g, 2008)
  Ali is worried. Her husband Paul has just joined the International Order of the Moustache Guys. So she dons a fake moustache and pursues her husband, exposing a secret world of shady characters and shadier facial hair.
• A Better Babylon (Victory Gardens, 2008)
  In 1960s UC Berkeley, a wave of student radicalism engulfs a young Chinese couple, a black protester, and a Chicana biologist. Personal dreams collide with political conscience, testing the limits of mentorship, friendship, and love.
• Bury the Iron Horse (2g, 2009)
  “This is it, bitches: Iron Horse Park.”
  This is the Seattle park where three sisters reunite after a long estrangement.
  This is where their parents fell in love and started a salmon cannery.
  This is where Dad took them on hikes and Mom skinned salmon.
  This is where Dad left them.
  Through six interwoven camping trips, a family comes together and falls apart, and three sisters return to
  BURY THE IRON HORSE
• Bike America (Julliard, 2012)
  Penny is damaged. She doesn’t know who she is or her place in the world. So she drops everything to go on a cross-country bike trip from Boston to Santa Barbara. Along the way she befriends fellow adventurers, from the lesbian couple who’ve decided to get a marriage license in every state to the mysterious Man with the Van who transports their belongings. Set in iconic towns from the deep North down to the deep South (and the highways between), Bike America captures the restlessness of a Millennial generation that will go to any length to find a place that always seems just out of reach.
• Collin (Ma-Yi, 2012)
  David is a successful New York casting director and Collin is a hot young star on the rise. The attraction is chemical, but the combination is potentially deadly. A love letter to the theater where the highs and lows of romance echo the highs and lows of a life on the stage.
• Teenage Dick (Ma-Yi, 2015)
  Teenage Dick is a re-imagination of Richard III set in high school. The play uses the most famous disabled character of all time as a means for re-examining more contemporary tropes about the handicapped, via the tale of Richard (junior class secretary) and his quest to become senior class president of Roseland High.
• Tiger Style (Alliance Theatre, 2015)
  Star students and squabbling siblings Albert and Jennifer Chen used to represent the pinnacle of adolescent achievement. When it comes to adulthood, they’re epic failures. Albert’s just been passed up for promotion and Jennifer’s been dumped by her loser boyfriend. So they do what any reasonable egghead brother and sister would do and go on an Asian Freedom Tour! Travelling from California to China, Tiger Style! embraces the inner slacker and the outer tiger parent in all of us.
• British Raj – Just the Fun Parts (Ma-Yi, 2017)
  5 Desis cover 350 years of history in 2 hours.
• Bhangin’ It, book with Rehana Lew Mirza, music by Sam Willmott (La Jolla Playhouse, 2019)
  “Bhangin’ It” draws inspiration from the high-stakes world of intercollegiate competitive bhangra – a traditional Indian folk dance morphed into a good ole American dance-off. The story follows a biracial student, Mary, who gets kicked off her bhangra team for not being “Indian enough”. When she forms a team of her own, cultural authenticity and cultural pluralism are set on a collision course in this brash, intoxicating and gripping new musical. Winner of the 2018 Richard Rodgers Award.

Li, Melissa

• Interstate (Mixed Blood, 2020)
  Interstate is a Queer Asian-American pop-rock musical about two trans people at different stages of their journeys, navigating love, family, masculinity, and finding community in the era of social media. It charts Dash, a transgender spoken word performer as he goes on a cross-country tour with Adrian, a lesbian singer-songwriter, as the activist band, Queer Malady, fueled by the allure of fame and a desire to connect with the Queer Asian community. The band’s fiercely political and deeply personal music touches Henry, a transgender teenage blogger living in middle America, who finds solace in their art as he struggles with his own identity and family. With Kit Yan.

Li, Yan

• Bethune (NAAP, 2019)
  Canadian surgeon Norman Bethune finds his passion and purpose renewed when he travels to 1930s China and aids the Communists in their struggle for liberation. Aided by his staff and local militiamen, he learns the price of belonging to two worlds and captures a glimpse of Mao’s vision for the future.

Liang, West

• The Atmosphere of Henry (Ivar Brickbox Theatre, 2004)
  The play explores the mind of a young man named Henry and his relationship with his wife, Joanne, which has been paralyzed by their lack of communication. What does he do to compensate, and where does he find connection? Four lives converge in this quick-paced drama set in a San Francisco high-rise.
• The Legend of Jane and Joe (Ricardo Montalbán Theatre, 2005)
  An intriguing and clever play that explores the relationship between two artists in contemporary Los Angeles, beginning with thier brief but riotous first encounter. Follow these two young lovers, as they discover lust and vanity, fear and happiness, ambition and disipline, and love and fate.

Lim, Dean

• An Unbreakable Illusion of History (EWP: Paper or Plastic, 1999)

Lim, Genny

Genny Lim lives in San Francisco. She is the author of a bilingual children’s book, Wings of Lai Ho, and co-author of Island: Poetry and History of Chinese Immigrants on Angel Island. BA/MA San Francisco State University, English with Creative Writing Emphasis; Broadcast Journalism Certificate from Columbia University 1973. Profession: Faculty at New College of California, Playwright, Poet, and Performer. Awards: Bay Guardian Goldie, Creative Work Fund and Rockefeller for Songline: The Spiritual Tributary of Paul Robeson Jr. and Mei Lanfang, collaboration with Jon Jang and James Newton. James Wong Howe Award for Paper Angels (Premiered July 2000, UC Zellerbach Playhouse).

• Paper Angels (AATC, 1980)
  This is the story of the first generation of Chinese American immigrants, caught between disaster in China and anti-Chinese backlash in America after the passage of the Chinese Exclusion Act of 1882…
• Bitter Crane (Bay Area Playwrights Festival, 1989 )
• Pins and Noodles (1989, Persona Grata)
• Daughter of Han (Bay Area Playwrights Festival,1983)
• I Remember Clifford (Bay Area Playwrights Festival, 1983)
• Pigeons (SF Chinese Culture Center, 1985)
• XX (The Lab, 1987)
• The Pumpkin Girl (Bay Area Playwrights Festival, 1989)
• Winter Place (Hatley-Martin Gallery, 1988)
• Faceless (Magic Theatre, 1989)
• The Magic Brush (World of Tales, 1990)
• SenseUs, The Rainbow Anthems (Life on the Water, 1990)

Lim, Sean

• Fresh off the Plane (AATC)
  World Premiere! Newsflash! FOBs don’t come from boats these days, they get dropped off in planes! Join three young Asian Americans in this newly adapted tale of the modern FOB – the FOP. Asia and America. Ah, sometimes it feels like you’re floating between the two – which is exactly what these three punks do on their quest to become ‘fobulous.’

Lin, David

• Yellow Flight (EWP, 2003)
  Interracial sex, Canadian rock music, and ecumenical drug use are the tip of the iceberg in this wretched tale of race, real estate, and college admissions.  Guaranteed to generate controversy.

Lin, I-Jong

• The God of Tobacco (Poets Theatre, 1999)
• Grand Unification Theory (2002)
  A couple come to a New England bed and breakfast for a three-day physics conference. The couple is made up of a sometimes-working Asian-American actor (Tsuhan) and girlfriend (Chintz), a graduate student in Theoretical Physics. Unfortunately, his credit card has bounced and he makes a quick deal with the owner (Mrs. Chin) to work off his debt through manual labor and recounting how he met Chintz. The first night, Mrs. Chin find Chintz in the dark and swap stories about how they met their respective significant others. The second night, Tsuhan recounts his side of the story. The third night, Chintz and Tsuhan fight and resolve their relationship once and for all.
• Martyrs, Victims, Fighters And Theives: The Myth Of The Model Minority (Medicine Show, 2002)
  X and Francis are brothers; Francis is about to be married to Kim and X is in a “special” relationship with K. As well as being romantically involved, X and K break into each other’s apartment and steal things from each other.

Lin, Kenneth
Kenneth Lin is an award-winning playwright and screenwriter whose plays Warrior Class, Pancakes, Pancakes!, Po Boy Tango, said Saïd, Agency*, Intelligence-Slave, Genius in Love and The Lynching of a White Man In Rural, CA have been performed throughout the world. He is a member of the theater/music/film collective New Neighborhood.

• Po Boy Tango (Searchlight Theatre, 2009)
  A celebration of the human spirit and the joy of cooking, Po Boy Tango tells the story of Richie Po – a Chinese immigrant who turns to his estranged friend Gloria to help him recreate his mother’s “Great Banquet.” Despite the challenges of shark fin soup, duck po boy sandwiches and underlying cultural tensions, Richie and Gloria find common ground through their shared humor and the interaction of traditional Taiwanese cuisine and African-American “Soul Food.” With the help of lessons from Po Mama’s television cooking show, the two discover a deeper understanding of food, culture and the nature of friendship
• Warrior Class (Second Stage, 2012)
  When Assemblyman Julius Lee makes a bid for Congress, the ghosts of his college days come back to haunt him. Nothing reveals true colors like a sprint to the finish, when friends become enemies and allies can turn on a dime.
• Intelligence-Slave
  Inspired by a true story, Intelligence-Slavetakes place underground in an abandoned salt mine where the Nazis have moved the Buchenwald machine factory at the end of World War II to avoid Allied bombing. In this salt mine, the Austrian industrialist and concentration camp prisoner, Curt Herzstark tinkers with an amazing device. A small, black metal cylinder, no bigger than the palm of his hand, the device is a technical marvel… it’s also what’s keeping Curt alive; the device is the world’s first handheld four function calculator and the Nazis have designated Curt an “intelligence-slave” and are keeping him alive to present it as a gift to Adolf Hitler.
• said Saïd
  Algerian poet and essayist Andre Saïd has immigrated to the United States and built a life for himself. He has been named the Poet Laureate of the United States Library of Congress, and has won a Nobel Prize for Literature. But, these are controversial because Saïd was accused of being a terrorist during the French-Algerian War. A prison where Saïd was held in Algiers is torn down, and pages and pages of poetry are discovered. But, the poetry is written in an obscure dialect of Berber, of which Saïd is the last remaining speaker. He is asked to translate, but refuses. Why?
• Agency*
  A Catholic priest, turned assassin is given a new assignment — his next target is a computer that has become conscious and barracaded itself in the home of an autistic child.
• About Me:
  Cameron and Libby, two aspiring writers, meet each other on a online dating site, and go through a necessary New York City rite of passage: dating someone you thoroughly dislike. Initially, they last six months. But, years later, after the city and life has ground them into their respective destinies, they reunite when Libby’s dying. What if missed chances and connections are all that’s left to see you to the end?
• Life On Paper
  After his proof for the Riemanm Hypothesis (one of the world’s last great math puzzles) disastrously flames out, Mitch Bloom, a brilliant mathematician finds himself working as a consultant using complex algorithms to set the value of human lives in wrongful death cases. His knack for de-valuing lives has made him the darling of the insurance companies, but what will he do when the wrongful death of a billionaire philanthropist crosses his desk, and the future of a small town hangs in the balance?
• Farewell My Concubine
  Set against the backdrop of China’s painful transformation away from imperial rule, Farewell My Concubine, based on the acclaimed film and novel, tells the story of a Peking opera troupe whose members must contend with changing political winds via an artform that has defined their lives, but whose relevancy is threatened in a strange new world. ​
• Pancakes, Pancakes
  Created in residency at the Eric Carle Museum of Picture Book Art, Pancakes, Pancakes! tells the story of Jack, a young boy who is hungry for breakfast, and the journey his busy mother sends him on to collect the ingredients for the perfect pancakes. Written with support and permission from the author in conjunction with a perspective at the High Museum of Art, this adaption is not currently available for licensing.
  A book images are copyrighted images that belong to Eric Carle.
• The Lynching of a White Man In Rural, CA,
  This tells the story of Aaron Hayes, a well-heeled young American who casts off his Ivy-League pedigree when a summer job as a beekeeper turns into a journey through the American heartland as a migrant farm worker. His journey ends in California where he is mistaken as Mexican by White Supremacists who beat him to death in a hate crime. The play follows Aaron’s transformation as he travels from farm to farm and his mother Elizabeth’s, transformation as she journeys, in a gypsy cab, to meet her son’s killers. Ultimately, they trace similar paths of discovery, longing, hope and grief.
• Genius in Love
  Isaac Newton and Gottfried Leibniz, fierce rivals and towers of the Enlightenment come together at the ends of their lives to complete the world’s greatest invention — a love potion.
• The Adventures of Huckleberry Finn (Alley Theatre, 2017)
  A reworking of Twain’s novel focusing on the relationship between Huck and his father Pap. Artistic director Gregory Boyd will direct.
• Kleptocracy (Arena Stage, 2019)
  The world premiere of Kenneth Lin’s play is set after the fall of the Soviet Union when a new ruling class that includes a hyper-ambitious Vladimir Putin takes hold of the country.
• Exclusion (Arena Stage, 2023)
  The second Power Play of the season by Kenneth Lin is a hilarious peek into the world of filmmaking and Hollywood. The workplace politics will immediately strike a chord.

Lin, P. H.

• Sweet Ginger: Hot And Blue A play in two acts by P.H. Lin
  (4 W, 2 M ) A coming of age story, but from an Asian point of view. Can a Taiwanese immigrant family adjust to an American way of life without destroying what’s left of their family? Complicating things are a 95 year-old Jewish woman, a female Buddha, and the spirit-apparitions of Ginger’s mother and brother.

Lin, Serena

• Left Unsaid (East West, 2008)
  Sonia’s family and beloved community crumbles under the weight of intrigue, violence, and racial tension under the new moon of Ramadan. This is a story about one woman coming outside in a Los Angeles neighborhood and all we can never say, but long to say anyway.
• A Traditional Girl (A Radio Play set to Asian Jazz Fusion) (EWP, 2009)
  Once upon a time a group of friends got together at a bar to dish about fairy tales, closets, changing your gender, and true love…

Lin, Weiko
Based in Los Angeles, Weiko Lin holds a MFA in Film and TV from UCLA. As a member of WGA-west, he is also the recipient of a Samuel Goldwyn Writing Award. Weiko is a visiting lecturer in screenwriting at UC San Diego and an instructor at East West Players.

• Tracks of Tears (1997, Veteran’s Wadsworth Theater)
• Heavenly Peace (1999, UCLA Royce Hall)
• Parachute Kid (2001, UCLA Royce Hall)
• Blind Street (Riverscope, 2003)
  On a street corner in LA, a blind musician plays on as an eclectic group of hardened city natives meet by pure chance. Through the eyes of a dying British backpacker and his pregnant girlfriend, the lives of a homeless vet, a delusional prostitute actress, a grave digger, a Beverly Hills runaway, a sex-craving bully, and a Hollywood screenwriter intersect via love, sex, and death.
• Mommy’s Special (2004)
  Set in the back lot of a Chinatown dive bar, two complete strangers confront their dark pasts and discover the secret ties between them.
• The Best Man (2005)
  Mitchell spends the evening before his wedding at a New York hotel suite with his best man, Danny, a musician burnout who makes his money prostituting his young, naïve girlfriend, Misty. Mitchell’s marrying Julia, who is also Danny’s ex-wife. When the women arrive, the charade begins. The drinks flow and suddenly inhibitions melt. Beneath its high-stakes surface and temptation, a dark vengeful secret explodes as the night unfolds.

Linmark, R. Zamora

• Rolling The Rs (Kumu Kahua, 2008)
  Edgar Ramirez, a Kalihi teenager “who looks like a Filipino John Travolta,” knows that he is gay and isn’t bothered by his schoolmates’ taunts. Rolling the Rs is set in the disco ’80s, when high school students had posters of Scott Baio and Leif Garrett, listened to Peaches and Herb, read Sixteen and Teen Beat, and struggled with their identities. Edgar and his friends Katrina and Vicente exchange words with their classmates, dance, sing and experiment with sex in a free-floating, surrealistic story punctuated by the disciplinary voice of the schoolteacher, Mrs. Takemoto, and the judgmental gossip of Philippine-born and raised friends Mrs. Kayabyab and Mrs. Arayat.

Liu, Yilong

Yilong is a New York-based bilingual playwright, originally from Chongqing, China. Currently, he is a resident playwright at The Flea Theatre and a proud member of Ensemble Studio Theatre’s Obie Award-winning playwrights group Youngblood.

Awards include Kennedy Center’s Paul Stephen Lim Playwriting Award (The Book of Mountains and Seas), Paula Vogel Playwriting Award (June is The First Fall, 2nd place), National Partners of the American Theatre Award for Playwriting (Joker), and Po’okela Award for Best New Play (Joker).  He is a EST/Sloan New Play Commission recipient, a SPACE on Ryder Farm resident, and the Asian Pacific American Friends of The Theatre Playwright Scholarship recipient.

His work has been produced or developed at SPACE on Ryder Farm, Stella Adler Studio of Acting, East West Players, Queens Theatre, FringeNYC, Union Theatre (London), CAATA, New Ohio Theatre, Kumu Kahua Theatre, New Conservatory Theatre Center, and others. When he’s not writing, he’s usually Netflixing, people watching, or compulsively liking cat pics on Instagram.

• The Book of Mountains and Seas (East West Players, 2017)
  (3m)
  Two years after losing his son, a California dad teams up with the son’s last boyfriend in New York for an impossible mission to visit all the restaurants on the son’s Yelp page, but each with their own agenda. The dad is Chinese. The boyfriend is American. A comic drama about two people dealing with loss, differences, and their unlikely friendship in a digital and global age. Winner of Kennedy Center’s Paul Stephen Lim Playwriting Award, a semifinalist for O’Neill Playwrights Conference, Bay Area Playwrights Festival, and a finalist for The New Harmony Project.
• Flood in the Valley
  FLOOD IN THE VALLEY is a bilingual folk musical set in the hills of Appalachia and Sichuan and created by a collaborative of six playwrights and composers from China and the United States. Performed in Mandarin, English, and Nuosu by a diverse cast of eight performers from both countries and a live band, the play follows two pairs of lovers as they contend with the rigid traditions of their mountainside communities and the struggle to find one’s home in a changing world.
• Joker (Kumu Kahua, 2015)
  Set around the fight for marriage equality in Hawai’i, Joe’s normal, simple life unravels as a promise kept is threatened by a visit of a man from his past.
• Spring is the First Fall (Queens Theatre, 2017)
  Inspired by a portrait of Afong Moy, the first female Chinese immigrant to the United States, this play explores love, loss, and the power of our memories. When a breakup brings back a painful past, a Chinese American gay man returns home to Hawaii, where he must confront his sister, his father, and himself about a dark family history that reopens old wounds.

Lo, D.

• First String (EWP, 2004)
  Blending fast-paced scenes and rhythmic monologues, this piece of hip-hop theater shines a light on the friendships and love lives of a group of butch and femme women.

Lo, Jeffrey
Jeffrey Lo is a Filipino-American playwright and director based in the Bay Area. He is the recipient of the 2014 Leigh Weimers Emerging Arist Award, the 2012 Emerging Artist Laureate by Arts Council Silicon Valley and Theatre Bay Area Director’s TITAN Award. His plays have been produced and workshopped at The BindleStiff Studio, City Lights Theatre Company and Custom Made Theatre Company. His play Writing Fragments Home was a finalist for the Bay Area Playwright’s Conference and a semi-finalist for the O’Neill Playwright’s Conference.

Recent directing credits include The Santaland Diaries at TheatreWorks Silicon Valley, Peter and the Starcatcher at Hillbarn Theatre, The Crucible, Yellow Face and Dead Man’s Cell Phone at Los Altos Stage Company, Uncle Vanya at the Pear Theatre (BATCC award for Best Production)Eurydice at Palo Alto Players (TBA Awards finalist for Best Direction) and The Drunken City at Renegade Theatre Experiment. Jeffrey has also worked with the Oregon Shakespeare Festival, San Jose Repertory and is a company member of Ferocious Lotus Theatre Company and SF Playground. He is the Casting Director at TheatreWorks Silicon Valley, a graduate of the Multicultural Arts Leadership Institute and a proud alumnus of the UC Irvine Drama Department.

• A Kind of Sad Love Story (Bindlestiff, 2013)
  Andrew and Emily are a mid-twentysomething couple whose time together is about to run its course as the realities of maturing sensibilities set in. A Kind of Sad Love Story is the bittersweet story about a relationship between two nice kids who, in order to move on with their lives, must first break each other’s heart.
• Writing Fragments Home (2014)
• Dealing Dreams (Custom Made Theatre 2014)
• A Kind of Sad Love Story (Bindlestiff Studios, 2016)
• Angel in a Red Dress (Impact, 2012)
• Spending the End of the World on OKCupid (Ohlone College, 2016)
• Waiting for Next (Dragon Theatre Productions, 2016)

Locsin, Aurelio
Aurelio Locsin is a writer and actor, and a company member of the Rude Guerrilla Theater Company. More information including reviews at rgasian.blogspot.com

• Asian-Acting: an Evening of One-Act Plays by Aurelio Locsin:
  a wild assortment of World Premiere plays, dance pieces, monologues and puppetry. (Nominated Best New Play for the 2005 Orange County Theater awards.)Rude Guerrilla Theater Company (Orange County, CA.) in January 2005:
• Mrs. M’s Tea
  A woman sits down for a last cup of tea before going to a Japanese internment camp;
• Marriage Monkey
  A man fights in court for the right to marry outside of his race;
• Midnight Manuever –
  A timid woman decides to stand up to the bigots in her neighborhood
• How China Diffused the Cuban Missile Crisis
  A dance piece.
• Tongue Lashing
  A vicious killer and his victim have a little conversation before getting down to business;
• American Express –
  A visit the Thai sex industry
• Legend of the Banana
  Filipino fable comes magically to life.
• Helltown Buffet (formerly Consent)(East West, 2006)
  Can two gay Filipinos: a wimpy assistant manager and a hunky demon, fall in love through their real and imagined histories? This dark comedy propels them from the Hometown Buffet to several afterlives, prompting encounters with a sexy demon boss, a fabulous stylist, hungry homeless people, bewildered tribesmen and talking trees.
• Head Aches (East West, 2010)
  Middle-aged Ricardo, a Filipino-American canine cop, wants to make peace with his son, wife, father and dog. Unfortunately, his coma makes communication impossible. Can the objects of his affection help him handle family, child-rearing, sexuality and love before it’s too late?
• Family Affair (East West 2011)
  Filipino-American LD and Anglo Kenny decide to break up their long-term gay relationship. LD’s family, who like Kenny better than LD, are thrown into turmoil. Do they try to get them together or push for the separation?

Loh, Sandra Tsing

Sandra Tsing Loh is an L.A.based writer/performer/musician. Her books, published by Riverhead Books, include a novel, If You Lived Here, You’d Be Home By Now, which the Los Angeles Times named one of the best books of 1997, Depth Takes A Holiday: Essays From Lesser Los Angeles, and Aliens In America. The latter is based on Loh’s solo Off Broadway show which ran at Second Stage Theatre in New York in summer, 1996. Loh has also been featured at the U.S. Comedy Arts Festival in Aspen, the HBO New Writers Project, and on NPR’s “This American Life.” She is also a regular commentator on NPR’s “Morning Edition,” a show which coincidentally has used segments from Pianovision as buttons.

Currently, Loh is most musically active as a composer for film. She composed and performed on the score for Jessica Yu’s 1997 Oscar-winning documentary Breathing Lessons: The Life and Work of Mark O’Brien, and is scoring Ms. Yu’s next documentary on HBO of the Living Museum. Loh began in the mid’80s as a performance artist; her piano concert “spectacles” were covered by such outlets as People, the Wall Street Journal, GQ, Glamour, the Associated Press, CNN, and even in Johnny Carson’s Tonight Show monologue.

Nearly 1,000 people attended “Night of the Grunion” (March 1989), in which Loh and the Topanga Symphony played a concerto for spawning fish on a Malibu beach at midnight. In “Self Promotion” (March 1988), an assistant flung $1,000 in autographed $1 bills over her as she performed before a stampeding crowd. “Spontaneous Demographics” (September 1987) featured Loh playing a piano abord a flatbed truck in a concert for rush hour commuters on the Harbor Freeway.

• Aliens in America (Second Stage, 1996)
• Bad Sex with Bud Kemp (Second Stage, 1998)
• Sugar Plum Fairy (Seattle Repertory Theatre, 2003)
  A one-woman show about an ungainly 12-year-old girl who longs to dance the role of Clara in “The Nutcracker.”
• Language Will Be Used (Mark Taper, 2004)
  This is not for the faint of heart. Wit, writer, performer and radio personality Sandra Tsing Loh’s Language Will Be Used will unleash a fast rumination on topics such as the FCC, Lenny Bruce, the Van Nuys Courthouse, the danger of Peet’s lattes, the horror of pledge drives, places to shove your public radio coffee mug, multicultural nose flutes, Gino Vanelli’sunderpants, if Melissa Rivers were a camel jockey, if Rodney King were Caucasian and of course, just in time for summer, the Palestinian woman joke.

Lottman, Anh
Anh Lottman lives in Monrovia, CA. Ms. Lottman graduated from USC as a Master of Professional Writing, in May of 2003. She is also degreed in English, History, the Liberal Arts, and has studied and written for the East West Players. She has worked as a teacher, a grant writer, and a journalist.

• V (East West, 2001)
  A Vietnamese-American family battles to vanquish the vampiric shadows from their past.
• I Start At A (2003)
  I Start at A is a uniquely staged fairytale about the value of first being true to one’s self.

Loughran, Keira

• Little Dragon (fu-GEN, 2005)
  Little Dragon is a fierce, biting comedy. It tells the story of a young third-generation Chinese-Canadian woman who goes to university and discovers she’s Chinese. Her ensuing search for a cultural identity, of which she can be proud, surfaces a long-repressed pain stemming from the death of her father in her early childhood and generations of family shame and secrets. Through her journey, she comes to believe that her father was actually Bruce Lee, and she turns to the martial arts legend for solace and strength. It is a story of! longing, belonging, and ultimately, self-love.

Louie, Daniel

• Baby Dearest ()
  Short play.
• Sasha Says (2000)
  “Sasha Says” is a dark and haunting fantasy tale about the fate and rivalry of two brothers, both oppressed by their domineering mother. One day Cyrus rescues a mysterious mute girl named Sasha and falls in love with her, awakening a desire he never knew existed. Just as Sasha begins to return his feelings, Cyrus’ younger, better-looking, and more talented brother Lucien returns, igniting Cyrus’s slow descent into madness and plunging all three headlong into destruction.
• Never Cry Zombie (Washington, DC, 2000)
  A Ten Minute Show: Trapped in a basement, friends deal with a zombie friend.
• Acceptance (Love Creek Productions, 2001)
• Goodbye with Hope (Love Creek Productions, 2001)
• Paying Regrets (Love Creek Productions, 2001)

Louis, Nikki

• Made in America (NWAAT, 1985)
• Breaking the Silence (NWAAT, 1986)

Lounibos, Tim

• Be Happy (Lodestone, 2008)
  Ten years of  torment cast a woman and her therapist into a psychological pandora’s box during a perverse struggle for happiness. One Act.

Lowe, Andy

• The Cultural Hyphenate ()

Lum, Benjamin

• Angst, Adolesence and Alone (EWP: Paper or Plastic, 1999)
• Of Dreams, Mangos and Rycroft Street (EWP: Paper or Plastic, 1999)
• perceived (and short scenes) (EWP: Paper or Plastic, 2000)
• Searching for Paradise (EWP: Paper or Plastic, 2000)

Lum, Darrel H. Y.
DARRELL H. Y. LUM is co-publisher and co-editor of Bamboo Ridge, which he helped found in 1978. He is author of both prose fiction and plays.   He has published two collections of short fiction, short stories and drama.  Pass On, No Pass Back was awarded the Asian American Studies Book Award in 1992.  His work has been widely anthologized, and frequently used in English, Speech, and Asian American Studies classes in secondary school and college classes in Hawai‘i, and on the mainland. Oranges Are Lucky was his first play, and has been staged three times by KKT, in 1976, 1986, and 1996.

Dr. Lum received the Cades Award in 1991 and the Hawai‘i Award for Literature, the state’s highest award for literature, in 1998.  He holds a Doctorate in Education from UHM.

• Oranges Are Lucky (Kumu Kahua, 1976)
• Magic Mango
• My Home is Down the Street (1987)
• A Litle Bit Like You (Kumu Kanua, 1991)
• Fighting Fire (Kumu Kahua, 1996)
• David Caradine: Not Chinese (Kumu Kahua Theatre, 2005)
  Playwright Lum, who has a talent for dealing with serious issues in a lighthearted style, is at his comic best in this tale of convoluted racial stereotypes, local attitudes and pun-ridden dialogue, culminating in a hilarious evening at the Wat-Chu Society annual banquet.
• Beer Can Hat (Kumu Kanua, 2019)
  Bobo is a little slow. His abusive father wants to send him away. Selling newspapers on the street, Bobo scrounges for a little money. Despite injuries, harassment, and discrimination, Bobo never complains—after all, he may not have much—but Bobo does have one thing: a true friend. Da Beer Can Hat is based on Darrell Lum’s original short story of a mentally handicapped individual and his one, best friend.

Lum, Leslie

• Geomancer (NWAAT, 1999)
  A Chinese scientist is accused of espionage and stealing atomic secrets. The year? 1952…The more things change…

Ly, Minh

• Ga Ting (2013)
  This heartbreaking story of two parents struggling to come to terms with their sons’ sexuality in the wake of his death

Ly, Oskar
Oskar Ly is a Hmong French-American Artist and Organizer. She is a Fashion Artist and Singer-Songwriter with a focus on social justice. She uses the arts and community organizing as a foundation to build community spaces that celebrate authenticity, discovery, and our stories. Her vision is to achieve responsible recognition of her communities, create space for original narratives and lift multi-dimensional identities through creative exploration. She enjoys crafting to liberate beyond words, sharing food, culture and conversations.

• Womn + Womn (Mu, 2015)
  Nana (Soul), Huab (Body) and Jules (Spirit) journey through queerness, haircuts, cassette tapes and their intertwined fates hidden in memories and explorations of their unbeknownst affection for women.

Ly-Cuong, Stephane

• Lemon Twist (A Musical) (Mu Performing Arts, 2015)
  Lemon Twist tells the story of Yvonne, an American-Vietnamese woman living in New York who is torn between her very traditional Vietnamese family and her desire to be a “normal” American. She longs to be an actress – to star in a musical! To light up the silver screen! – but roles for Asians are few and far between. Should she give in to her mother’s pressure to become a pharmacist? Luckily, her sharp sense of humour comes to her aid as she finds herself between jobs, between relationships, feeling neither wholly American nor entirely Vietnamese…