By: Joy Zhang
Ziyan Yang, an immigrant theater artist from Yunnan, now calls New York home. Over the last three years, he’s showcased his diverse talents across iconic venues like Joe’s Pub at The Public Theater, Kaufman Music Center, Frederick Loewe Theatre, Theater For the New City, Chain Theatre Company, and Hudson Guild Theatre. Yang’s repertoire spans a broad spectrum, from operas to musicals to plays, including composing, playwriting, sound design, and acting. Praised by Tony award nominee Michael John LaChiusa as having a “super talented and unique voice,” Yang’s work resonates deeply within the theater community and beyond.
Yang’s latest creation, The Song of the Earth, book and lyrics by Briana W. Harris, has garnered recognition as a semifinalist at the 2024 Eugene O’Neill National Music Theatre Conference. This innovative piece transcends traditional boundaries, blending opera and musical theater elements to craft a truly unique narrative experience. Drawing inspiration from Gustav Mahler’s “Das Lied Von der Erde” and incorporating Chinese Tang dynasty poems as found text, “The Song of the Earth” traverses time and space to explore the universal theme of mortality. In a world where only art endures, Yang and Harris’s work serves as a poignant reminder of the enduring power of creativity. Deborah Breevert, Opera America’s esteemed librettist grant winner, lauds the piece as an “astonishing and brilliant idea with absolutely gorgeous music,” affirming its unique place in contemporary music theatre.
This summer, Yang’s latest musical, “Ti’Mon,” featuring book and lyrics by Ashlee K. Thomas, takes center stage at the 4th Obsidian Festival, representing the sole musical theater piece in the lineup at the Detroit Opera House. Donna Di Novelli, the acclaimed playwright, passionately proclaimed that it would be marked in American musical history during a scene where the protagonist, Ti’Mon, is faced with a decision suggested by his illusory companion, Eshleem, to slaughter his mother. “Ti’Mon” delves deep into the poignant narrative of immigrant families grappling with the loss of a parent-child relationship. Against societal challenges, Yang’s musical is a powerful testament to resilience and the universal human experience.
As the Obsidian Festival, dedicated to showcasing Black plays, received a generous grant of five hundred thousand dollars from The Mellon Foundation, Yang stands proud to be the sole Asian artist of this transformative initiative, which speaks volumes about the universality of immigrant stories and the importance of diverse voices in shaping the cultural landscape. Through “Ti’Mon,” Yang shares a vibrant and universal tale, enriching the tapestry of theater with his unique perspective and unwavering commitment to storytelling.
Last winter, Yang’s play Burning Clouds (old title: Look How Far You’ve Come) was featured in the New York Theatre Festival and Chain Theatre One-Act Festival. This straight play tells the story of Li and Chan, both first-generation immigrants as owners of a restaurant in Chinatown, alongside their relative’s daughter, Amy, a second-generation Chinese girl, when they face the changing of Chinatown and the shifting of their perspectives of being today’s American Chinese. The revised full version is set to premiere next year, featuring cast: Natalie Choo, Andy Law and Stephanie Jean Toussaint. Washington National Opera’s commissioned librettist Jose G. Alba Rodriguez complimented: “It’s a heartwarming story of this small space affecting the large world.”
Today, Ziyan Yang is honored in a candid conversation with the author, delving into his artistic journey.
Q: How has living and studying in New York influenced your creative works?
A: As the song goes, “If you can make it here, you can make it anywhere.” It’s a privilege to be in the city that has the most abundant live theaters. The wide range of choices: Broadway, off-Broadway, The Met, downtown theaters. This city raised the most lively community of the artists and the audience. As a creator, staying in this habitat gives me endless freshness and new inspiration comes in my mind every day. This melting pot of cultures makes me cherish every moment. I may not be able to see the whole world, but here has the whole world in front of me.
Q: What does it mean to be a part of a black-centered theater festival?
A: It is an honor to share this story, talking about parent-child relationships, especially growing up in a POC family. When my collaborator Ashlee proposed the idea, I got goosebumps cuz Tita, the mother in the show is like many other tiger-moms in Asian culture, even though mine is not, but still, the strict parental discipline plays a huge part at my house, and my friends experienced that kind of environment too. I am very grateful to be part of this intimate story, and for the obsidian festival panels who liked my music even though it somehow doesn’t meet the “standard” musical-ish sound, they still gave me the chance to showcase my voice.
Q: What do you attribute your success to?
A: Thanks for calling me ‘success,’ but I’m afraid there’s still a way to go. But I definitely am happy with where I am and what I’m doing. Began learning music at a young age, went through music school in Beijing and studied drama in New York, now working in the center of the world’s performing arts. I just wish I could tell myself from ten years ago that everything will be alright and trust yourself. I think the reason they let my music on stage is that even though it doesn’t meet traditional musical expectations, it works well to the story, and I put in my own understanding of the melodies and instrumentations; that’s what I wish to be unique. For my other and future projects, I embrace the fact of who I am, as Asian, as queer; that’s what I felt only when I’m being authentic to myself; I’m giving my works the best chance.
Witnessing Ziyan’s journey reveals the essence of a new generation of immigrant artists. His transition from China to New York, from music to drama, is a model of inspiration, showcasing the blending of cultures, media, and genres in contemporary arts. Live theater, cherished for its ability to evoke both joy and sorrow, laughter and tears, remains a timeless medium through which the magic of performance is passed on to future generations.
Published by: Martin De Juan
