Video: Inside Opening Night of YELLOW FACE

Hello, I'm Richard Ridge for Broadway World

Daniel Day Kim has returned to Broadway in Roundabout Theatre Company's new production

of David Henry Wong's Yellowface directed by Lee Silverman, and we're here of the Todd Haymes Theater

where I caught up with the company on Opening Night. I mean, this is a journey that maybe began in 1993

when the predecessor, Face Value, failed to open on Broadway. So it's really been an incredible journey for this show

to now be making it on Broadway. We are opening and audiences seem to be really loving it

We fell in love with this off-Broadway. What has it been like revisiting the show again

and sort of looking it through a new lens of today? I think what's interesting is the degree to which

the subjects that are at the center of yellow face that drive the humor are closer to the center

of American popular discourse than they were in 2007. So in 2007, I felt like, oh, audiences didn't know

whether it's okay to laugh at it, whereas in 2024, they seem to understand what's going on

and really find it hilarious and hopefully are thinking about stuff too

I feel so excited. I mean, this is a, really, it's like a testament to being a New Works director

because I have been with this show. I worked on it, but my first draft was 2006 that I read

And so to be here right now, opening the show on Broadway, I just think that's what a life

in the theater is, that's what a lifelong collaboration is, that's what a good part

partnership is with David, like it's just an extraordinary moment of celebration

You know we fell in love of this play in 2007 and David was saying no one really knew how to laugh how to behave during this You know he could have written this yesterday Yesterday I mean that was the thing When we recorded it for Audible we were like this play has got to come back and it got to come back to Broadway

It is ready for a bigger audience. And just Daniel Dick him

I mean, hilarious. I mean, he is surprising people. He's blowing the roof off this place

Like, it is so wonderful to see him. This is such a different type of role that your audience is used to see

you in, which I think is amazing. What's it been like for you working on this play with David and

Lee in the rehearsal room? So fun, first of all. You know, it's, you know, Lee created such an

environment where we can play, have fun, take chances, fail, which I did regularly, and still might be

And David's words are such a fantastic blueprint to work off of. You never have to question whether

the play is good or whether the writing is good. You already know. And that gives you so much license to

just do justice to the work and elevate the work. And so it was a great combination, along with the cast that we had to work with

Everyone brought such a positive spirit and joy to the rehearsal room that it really was fun

coming to work every day. Why did you say yes, you wanted to do this, and why is it such an important play

A couple reasons. One was Daniel Day Kim, asked if I wanted to do this, and I said, I'll do anything with you, Daniel

because you're the greatest, which he is. And then I read the play, and I said it's by David

Henry Wong, so first off, yes, I don't need to read it. And then I read it and I was laughing

And the subject material was provocative and funny and invited this wonderful conversation about

race and casting and the masks we wear and all these things that I just thought it was dealing with heavy subject material in a way that was playful and fun and inviting and I loved it It been inspiring to see you know how disciplined David and Lee have been

in honing both the comedy and the message of this show. It used to be two acts. Now, it's one act

It used to have a lot of other scenes that don't exist anymore

but they also did rewriting of stuff that is in the show that actually helps heighten

how ridiculous these conversations about race actually are and how much we rely on family for identity and to understand who we are, you know, in the world

No one knows us like our family does. And I think that anybody who comes to see the show will see that portrayed

You play so many different characters. How much fun is that for you? It's really fun

It's very fun. I feel like I got to do this back when I was doing children's theater a lot

to play like a million roles with a million accents. And I thought, well, those days are done

but no, this is back in full force. And it's not just a stunt

It's kind of the theme of this show, this sort of trying on of new personas

You know, this constant, I think Lee is described the show as like a shape-shifter

And so I kind of embody that in my roles. It's very fun

Well, I mean, not only that is my Broadway debut, but the show is so just brilliant and well-written

and funny and thoughtful And I had so many amazing discussions after the play with friends who have come to see it that it really makes you think And I love any art that really makes you ask more questions

And I feel like this play is doing exactly that. And working with this cast

I'm trying to keep up. I'm just trying to keep up. They're amazing. They're so supportive and giving and caring

And we all have each other's backs up there. And I just, yeah, it's great

When we first spoke, you were still doing double duty. you were doing a fabulous

off-Broadway show while rehearsing this. Yes. What was that like? It was great

It's always great to be working. So if I complain about it

I will be struck down by the theater gods, so I'm not going to

But this is now the third show I've gotten to do back-to-back

and that feels amazing. So after tonight, I'm going to sleep. Just working on this play

it's such an important play, but it's also such a funny play. Very funny play, yes. Yeah. I think like, I think it's going to be amazing for audiences to see

Daniel Day Kim in a role that they haven't seen him before and just to be so funny and neurotic and

running around. Audiences love this show, what it means to you as a writer just watching how

this show is affecting audience. One of the things that's really meaningful for me is that there's not that many

plays about Asian Americans on Broadway. A fair number of shows with Asians in Asia

but very few about Asian Americans and the idea that that can be mainstream

and that can be embraced by a diverse Broadway audience is really satisfying