Based on the horrific rape and murder of Yun Keum-Yi in 1992. Enter the complex world of gijichon (U.S. army base towns) and learn to navigate its rules charged with tradition, lust, money, and eroticization.
More than one million Korean women were caught up in prostitution for the American military after the Korean War. These women walked the thin line between duty and shame, a necessary sacrifice for political relations but disregarded by the very same government and Korean society. It is the perfect backdrop to examine the interplay between the fetishization of Asian women and toxic male masculinity.
2021 - Development support from Cahoots Theatre and Why Not Theatre (Ontario Arts Council Recommender Grants)
2020 - Digital stage reading by Teesri Dunriya Theatre
2020 - Development support from the Fireworks Playwrights Program of Teesri Duniya Theatre (Montreal, Canada)
A Korean comfort woman reflects on her life and reverts in age as she works through the traumas that brought her to where she is today. A Japanese wife, whose husband is a soldier in the Japanese Imperial Army, is left to live through the decades alone and ages as she struggles to cope with the emptiness of a war that took everything. As the two women simultaneously and independently relive their traumas, the similarities of their experiences result in their worlds intersecting. Their paralleled cultural trauma experienced by Korean and Japanese women during the war show them the true meaning of forgiveness and healing.
My tribute to the comfort women of World War II.
Previous title: Baby Dreams in the Mushroom Cloud
2020 - Workshop by Playwrights' Workshop Montreal (Montreal, Canada)
2019 - Workshop by the M-A-I Theatre (Alliance Program) (Montreal, Canada)
2017 - Stage reading by Revolution They Wrote: Feminist Festival (Montreal, Canada)
V Variations on a Theme
The rippling effects of the most famous melody in classical music: the first four notes of Beethoven's V Symphony, in five short vignettes. Variations intertwines time and place: 1800s Washington, 1800s Vienna, 1945 Germany, 1900s America, and today.
As artists, we wonder for whom or what do we toil away for? Will we ever make an impact in the world? This is my love letter to all artists. Continue your work because yes, you will affect the world--for the world is not in the universe but in the universality of a single soul.
2019 - Produced by Spazio DiLà (Milan, Italy)
2017 - Semi-finalist at the Eugene O'Neill National Playwrights Conference
2016 - Stage reading by Theatre Encounter (Calgary, Canada)