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one of the first actors I asked to readthrough this project with me, Izzy- ended up joining the show later on!

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                                                                                                                       MAC !!!! the padlet ends here for you:)

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                                                                                                                       MAC !!!! the padlet ends here for you:)

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This is a padlet board I made throughout my final year of directing at Sheridan. I thought this would give you an idea of what my process looks like as it stands with the visuals and the text work without the word count/bother of reading so much bahahaha. Don't feel for the need to read all the text- again its just there for reference!!

Note that my Perfect Bowl of Pho work was done well before I officially joined the team. This was my introduction to the writer (Nam Nguyen) who learned that I was working on his show at school and later asked for this board to have as reference for the 2022 production. Shortly after they asked for me to join on as an actor! The board is imperfect, messy, and kind of all over the place but hey so am I.

With Pho especially, as much as I was working on an important project that I wanted to succeed- I was equally hoping to create a sense of community for the Asian students in the program who frequently were split off in different years in tiny (and I mean tiny) groups. It was just lovely getting to talk to my Asian underclassmen who I hardly ever saw and they were the ones who helped shape this project

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Explore a hand-picked collection of Pins about Anastasia on Pinterest.

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- My assignment being 2 scenes, and doing them differently
- overtime sorry
- TW for scene 1

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- were the scenes different enough??
- for scenario #1 was the obstruction of view effective? Do you think it would still be effective if you DID see what was happening behind the door?
- was the soundscaping necessary?
- how was having the third person there?

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featuring: Jean Blandon, Annika Tupper, and Elysia Cruz

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featuring: Jean Blandon, Annika Tupper, and Elysia Cruz

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Hi I want to acknowledge how my scenes are a bit longer than the max time and I'm soooo sorry. I talk about this more in my reflection! I totally messed up and didn't account for the difference between reading a scene with a partner vs. actually putting it up on its feet. I made cuts to my staging but its still pretty long. No pressure to watch the whole thing. Again, I'm sooooo sorry about this.

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kenzie drover as jenna
annika tupper as dawn
jillian cooper as becky

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article covering the video the scene is based on (at points, word for word)

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article covering the video the scene is based on (at points, word for word)

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When Bon Appétit magazine posted a story Tuesday about a Philadelphia chef's take on pho, the headline declared, in the style of internet hyperbole, "PSA: This Is How You Should be Eating Pho."

By Thursday, Bon Appétit had changed the headline to "We're in Love With This Pho" (the URL slug is still /how-you-should-eating-pho). The companion video, featuring the chef Tyler Akin of the restaurant Stock making pho and explaining how to eat it, had been scrubbed from Bon Appétit's social channels. The restaurant's Instagram had been set to private. Its Yelp page had been slammed with one-star reviews. The magazine posted a response on the story itself and on the magazine's Facebook page saying it had never intended to offend its readers.

What could have gone so wrong with a 259-word story about a Vietnamese noodle soup dish?

In the video, according to multiple reports (I did not watch the video before it got taken down), Akin describes the proper way to eat pho. Stock's concept revolves around pho; Akin therefore gets positioned as an expert. In the video, he claims the common practice of adding condiments to the broth doesn't show enough respect for the broth or the chef. (From the story: "Akin cautions that adding Sriracha or hoisin sauce destroys the broth's flavor, which the chef worked so intently on building.") He shows a chopstick technique. The video claims, "Pho is the new ramen."

Commenters showed a degree of outrage that's unusual for a Bon Appétit story. Many complained of cultural appropriation by a white chef and mostly white magazine staff. Others took issue with the idea there's a "right" way to eat pho. "I'm Vietnamese, and I always put hoisin or Sriracha into my pho," one commenter wrote. "Don't tell me how I eat pho." Still others thought it was inappropriate to juxtapose ramen and pho.

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Phil Yu of the blog Angry Asian Man called it, "Columbusing at its finest."

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Bon Appétit then removed the video and posted this response - not an apology, but an explanation of why it had taken the video down, which it blamed partly on the audience.

Hey Guys,

In regards to a recent video we posted about making and eating pho, we want you to know that we hear you and we are listening. It is never our intention to offend our readers, which happened in this case. Thank you for calling us out.

We believe in celebrating food from all cultures - we just want to eat and talk about food, all the time. Moreover, we care deeply about supporting local and international food communities.

At the same time, we never want to be a space that allows for harassing comments and threats toward chefs and restaurant owners. Ever. That's not what we're about. Which is why we have taken down this video.

Moving forward, we will continue to strive to get people to cook smarter and eat better. And we will always be mindful of the messages we share.

Thank you, as always, for being a part of what we do.

The response drew more ire from commenters. "Are you sorry or nah? If you're not, then just say so. It's not that hard," wrote one.

For his part, Akin told PhillyVoice.com, "My only comment is that I never intended to offend anybody, and I think that's all I can say."

It's clear that neither magazine nor chef had the "intent to offend" - but that's not really the point. What has surfaced in this debate are the thorny issues of race, culture, and prejudice that are inherent in not just food media coverage but in the way we eat, and these issues are not wholly apparent to everyone at the table.

Akin wasn't supposed to go viral. His restaurant, Stock, got a tiny mention in Bon Appetit's list of restaurant trends of 2016, a feature in its September restaurant issue. Pho "is going mainstream," the magazine wrote in a blurb about the so-called trend. "Don't tell ramen we're slurping something else."

Bon Appétit isn't the first to suggest ramen is out and pho is coming up - but that in itself is problematic. "Why is it that for all of Asian cuisine, we only get to have
one noodle soup at a time?" said Andrea Nguyen, author of the forthcoming The Pho Cookbook. "It's so frustrating
and insulting."

"The fact that we even think about [food] trends is absurd," said Krishnendu Ray, associate professor of food studies at NYU and author of The Ethnic Restaurateur. "When was pho not trendy amongst pho eaters?"

Though the magazine blurb mentioned another pho restaurant in Montana called Bone Broth Noodles (owned by a Vietnamese family), it chose to feature Akin in the accompanying web pieces, privileging a white chef over a Vietnamese one and unintentionally launching a fierce debate over ownership.

From Ray's point of view, the conflict is happening on multiple levels. First, there's Akin's position of chef-as-emperor. "He came to it from a chef's point of view," Ray said. "It has increasingly become this irritating, imperial point of view, which is, 'Let me tell you how to eat your food.'"

Nguyen agrees. While she herself is a proponent of keeping the broth in pho condiment-free, she isn't about to stop you. "Who am I to tell them that it's wrong? That's how they enjoy
it. That's how they define their relationship with it."

Beyond that, there was the reductive arrogance of the story and video. "For me, appropriation is not about the thing, it is about your posture," Ray said. "Anybody can do anything they want - cook any food - and, in fact, I appreciate that. But do it with a humility and awareness of rich, long, unrecorded, unaccounted histories. Take something that has been used and consumed in a group, and then now it's appropriated by a chef and that becomes his signature? That's cultural malpractice."

For the consumer, or the people who love pho and have for a long time, it's a "structural clash," Ray said. "The power is shifting. Any white chef who cooks this kind of
food is going to get in trouble now. What used to be subordinate groups are no
longer subordinate. That's the optimistic part for me."

Internet outrage can reach a pitch that verges on persecution, but sometimes it can expose blind spots, and, in this case, it did. There's a dialogue now, and perhaps more consideration of the reader as needing better, more thoughtful treatment, even if the story is just about a bowl of noodle soup.

Update 9/8, 7:48 p.m.: The video still exists online, because people on the internet are really resourceful. You can watch it below:

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Update 9/13, 10 a.m.: On Saturday, Bon Appetit ran an apology from editor-in-chief Adam Rapoport, who wrote that the magazine had "misrepresented the chef" and that he was not the party at fault. "Ultimately, as editors, it is our job to understand the impact our words and ideas will have," he wrote. "And when it came to this pho video, our words and ideas caused unnecessary pain and anger. As editors, we failed. And for that, we are truly sorry (something we should have said in our first statement)."

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People Are Pissed About This White Chef's Take on Pho. Here's Why You Should Care.

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When Bon Appétit magazine posted a story Tuesday about a Philadelphia chef's take on pho, the headline declared, in the style of internet hyperbole, "PSA: This Is How You Should be Eating Pho." By Thursday, Bon Appétit had changed the headline to "We're in Love With This Pho" (the URL slug is still /how-you-should-eating-pho).

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SCENE 10 PHÖ IS THE NEW RAMEN, OR, WHITE PEOPLE AS THEY TRULY ARE

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SCENE 10 PHÖ IS THE NEW RAMEN, OR, WHITE PEOPLE AS THEY TRULY ARE

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in which white people think Asian noodles are interchangeable, and Asian people think white people are literally satan

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modern ganh pho- just for a colour reference!

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This is mostly a hair/hat reference!

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- almost the exact same outfit but with the beanie!
- also has the preferred shoes on

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this outfit is almost perfect for what I'm looking for, aside from how new the clothes look. The fit is ideal here, loose and comfortable.
- The dark lose T-shirt is great, if the graphic on it could be a bit more random that would be awesome
- The flannel is perfect. every other Asian guy I know own's one
- beige/tan cargo pants like this are preferred.
- no jewelry like this picture though

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In comparison to a character like Kevin, Nam should seem a little dishevelled. A contemporary college student. This is his top of show look, he is going out for Pho.

Key pieces are:
- loose dark T-shirt
- Black/White/Neutral flannel
- Cargo pants
- worn sneakers (air force 1s are a popular style among college students, especially during 2017/2018 when this takes place)
- beanie is optional, but an homage to the 2019 Fu-gen production.

- my main problem with my reference photos is how pristine the clothes look (probably because they're mostly ads/model's photos). Like the farmer, the clothes should look WORN
- imagine all the clothes are thrifted! for super cheap at some mcc.
- something I've always thought about the kind of work I want to create is that I need the young people to actually look/dress like young people do!
- Nam can be played by anyone. This costume should be able to work on anybody.

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this rounder style of gánh phở is ideal. It should look heavy but feel light

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"We don’t know anything about the actual guy who first made pho, other than he lived in northern Vietnam under colonialism. Let’s be real—odds are, he never wrote anything down, stayed poor, and just . . . died. "

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- similarly to the drawing, this is the style of shirt I am wanting, but instead of a 2D image it is a real person.
- although this is a popular style of gánh phở, it is not the one I am hoping for.

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In terms of costume for the farmer, less is truly more and these images should serve as inspirations. What we're going for, is a recreation of what Vietnamese farmers actually wore during the colonial era of Vietnam

Key pieces are:

- rice hat (this is an absolute must and may double as a prop in other scenes in the show)
- simple wrapped style shirt (popular amongst Vietnamese farmers of the time)
- plain pants
- bare feet make the most sense, they did not wear shoes frequently. If this is a hazard we can discuss further
- gánh phở (this may need to be a collaboration with props or may be considered a prop itself- but is essential to the costume). He is supposed to be the founding father of pho

- everything should look incredibly worn
- his clothes should be dark brown/blackish. dirty from all of the work he does.
- it's alright if the rice hat blocks his eyes bit, especially from the stage lights. The feeling of anonymity totally works. We can play and discuss preferences in shapes of rice hat- there are many to chose from
- There are layers happening and it may even be long sleeve/pants but remember its hot. He needs to stay cool. The fabric should be light.

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Farmer's gánh phở mentioned

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cash register

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this cat is not a necessity but are also very common in viet restaurants (usually by the cash register)

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Like the FARMER, NAM is also Viet and poor, but as a contemporary Canadian student. Is studying at U of T but is from Mississauga. Is about 19/20 years old. He is trying to write a show about Pho and his culture but is very much struggling as it is forcing him to re-evaluate what exactly that even entails or means. Sarcastic, funny, kind of a narcissist (kidding).

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A poor Farmer in northern Vietnam under colonialism. According to the script he is "donning lose-fitting clothes and a rice paddy hat". He becomes a (perhaps the FIRST) "gánh phở"- a street vendor who carries a heavy mobile kitchen on bamboo poles. They have a family of seven children. The hypothetical creator of Pho. Had a name once, but wasn't documented.

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This is a standard contemporary rice hat. Not much else to say. Something more traditional is preferred but this totally works

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A peasant farmer in his raincoat made of grass. Credit: Oger [1909]

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- the clothes underneath the raincoat are what I'm most attracted to.
- This specific style of traditional shirt is what I'm hoping for!
- and the loose almost capri-length pant/shorts is great. It's usually hot in Vietnam so it makes sense.

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lanterns aren't necessarily standard for a Canadian Vietnamese restaurant, maybe more of a traditional Vietnamese Vietnamese restaurant but scenes take place in both so! and it looks AWESOME

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bird painting

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*note* I accidentally drew in side walls? those should be wings unless we're in a weirddddd theatre
- in the winnipeg viet restaurant and the mississauga one there are multi-tone walls with a brown strip in the middle.
- periwinkle blue, beige, and brown are favoured colours
- don't mistake this for tackiness. everything is cohesive still
- lanterns and other decor may be brighter colours (pink, red, sky blue, etc)

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16 Case study ideas in 2022 | vietnam travel, beautiful vietnam, vietnam

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Mar 15, 2022 - Explore honey🍯's board "case study" on Pinterest. See more ideas about vietnam travel, beautiful vietnam, vietnam.

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siracha, salt, peppers, chili sauce, hoisin cause, chop sticks

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crow's theatre featuring ARC companies resident actors

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It's a Banh Eat Banh World - The Funnelogy Channel

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kristen & me

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asian supermarket jen's mom goes to for pho powder mix

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directors prep, book setup + given circumstances

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directors prep, book setup + given circumstances

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a) short reflection
-   For notes, I printed out my script/scene pages so they are single sided which gives me atleast a whole blank page to have beside the lines/scene. This is really helpful for room and tidiness. I like drawing the stage to help me remember blocking which usually takes up some room.
- Trying out the line numbering system for the scenes to keep the notes in order
- I'm going with a pretty classic binder style of organizing.
- This script supplies us with a lot to work with- not just in terms of material but there is a wealth of additional footnotes, stories, preface, production notes, etc and I've compiled my favourite/most relevant bits to have in my little binder pocket.
- I like to keep various pencils/pens/highlighters clipped onto my binder (double sided highlighters/pens are the GOAT)
- So, in the past I've tried storing less relevant documents elsewhere but I find that just doesn't work for me. I prefer buying additional "pockets/folders" that clip into my binder (Designs, research, inspo, etc). I just prefer everything be in one place
- stickers are a must, for fun

b) 1-2 scenes:
Scene 2, VIETNAM PIMPIN', or, WORLD CULTURES DAY
notions of authenticity, ethnic pride, and resourcefulness in between hot rhymes about pho, chả giò, and bánh chưng

c) I attached a photo:)

d) given circumstance

1. Name: Jen (Jennifer, Jenjamin)

2. Age: 12

3. Posture/physical stature: Tiny lil rockstar.

4. General/specific health

5. Place of birth: Mississauga, Ontario, Canada

6. Occupation: Middle Schooler

7. Income: none

8. Group Identity: First generation Vietnamese Canadian

9. Dialect/diction/accent: Fluent in English but only about 50% fluent in viet. Loves to curse. When she raps her style of talking becomes more “urban” to replicate the style.

10. Social Class and status: Not one of the cool upper middle class white kids. They scoff at her and her lunches

11. Social Groups: Lone wolf at school. Not necessarily by choice.

12. Education: 7th grade

13. Intelligence: She is much smarter than she lets on, although incredibly immature.

14. Important Relationships: She has a single parent so her mom and grandparents are really her only immediate family.

15. Character history: Doesn’t know who her father is. Wants white approval

1. Name: Jen’s Mom (Kim)

2. Age: 39

3. Posture/physical stature: Thin from lack of care and almost as short as her daughter yet still somehow mighty.

4. General/specific health:

5. Place of birth: Hanoi, Vietnam

6. Occupation: Receptionist at a Spa

7. Income: 40K

8. Group Identity: Vietnamese, Canadian Immigrant

9. Dialect/diction/accent: Minimal accent, she came to Canada young. It creeps up from time to time though. English still isn’t technically her first language.

10. Social Class and status: Unfortunately low status in most sectors but isn’t scared to fuck your shit up.

11. Education: College Degree

12. Intelligence: She is an incredibly smart woman. In another life is a president or CEO

13. Important Relationships: Her daughter (obviously), her parents, and Jen’s father.

14. Character history: Doesn’t know who Jen’s father is.

In which a mother tries very, very hard to get through to her daughter about the moral of vietnamese cuisine and her daughter totally misses the point

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Just had an awesome session with the amazing Eden Chiam doing Janet's monologue from Kim's Connivence. I wanted to give her Asian rep to work with and a character and experience that felt familiar to both of us.

The first run was a pretty cold read, but initially I wanted some more arc. Discussing beats happen right off the top, however looking back I wish I was a bit more specific with the changes happening beat to beat.

Something that was helpful for when I wanted a bit more differentiating between imagery was discussing the characters she was talking about (Jung, Umma, etc)  and instead of asking directly "how are they different" it was more like "What did Jung do to make you guys feel this way? How did your mom being sick effect you?" that did the trick. Asking questions in general is something that worked well for me!

Opening a dialogue that led to ideas was so helpful. She had a lot to offer and had things to try I didn't even think of but loved!

The moment for me that felt like the strongest part of the exercise was right before the last run of the monologue when Eden said "I've had a conversation exactly like this with my dad" and I was like okay! If you're comfy, this isn't a "method" moment or anything, but let's try it out like this is that moment you are having with your dad. Boom. A great run of the piece, it was honest and sassy and had the strongest finish!

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vietgone, mtc warehouse, stephanie sy & simu liu