Archive for the tag 'Kansas'

My Mother’s Laughter

Paul May 9th, 2010

Although I emigrated to the United States in 1968, my mother did not come to visit me in Kansas until August of 1976, after she had already been in America for four months.  The reason why she decided to make the long journey from the Philippines was because my play Conpersonas was being performed in April of that year at the Kennedy Center in Washington, D.C., and also because (I think) she finally realized I was never going to be a doctor or a businessman, so she might as well see what I was really up to.

I was still in Kansas when my mother’s early-morning flight on Philippine Air Lines landed at Dulles International Airport in Washington.  I was arriving later the same day, but I had made arrangements for someone to meet her at Dulles, and to check her into the room which had been reserved for her at the Watergate Hotel, right next door to the Kennedy Center.  I was about to leave the house for my own flight to D.C. when the telephone rang.  It was her.

“Why weren’t you at the airport to meet me?” my mother asked hysterically.  She had been flying for nearly 16 hours, had been in transit for over 30 hours, probably hadn’t slept a wink, and had probably been terrified of going through U.S. Immigration and Customs all by herself.  ”What kind of a son are you?”

“Mom,” I reasoned with her, trying my best to explain that I had no control over airline schedules, but that I would be at the Watergate in time to have dinner with her.

“Hurry!  I’m hungry!” she wailed.

“Order something from Room Service.”

“It’s okay.  I’ll wait for you.  But hurry.”

“I’m on my way.”

“Take a taxi.  It will be faster.”

To this day, I don’t know if my mother was trying to be funny with that remark, or whether she really had no idea that, unlike the places in Manila that she frequently visited and patronized, Lawrence, KS was not a short cab ride away from downtown Washington D.C.

But, back to the momentous event at the Kennedy Center. If nothing else, I think my Chinese mother was truly impressed by the fact that my play in English was being performed by Caucasians, in front of mostly Caucasians, at the Kennedy Center.  Although Conpersonas was a serious drama about identical twin brothers who commit suicide within hours of one another, my mother sat through the entire performance at the Eisenhower Theater with an enormous grin on her face.  She might as well have been watching My Fair Lady or The Sound of Music. She had been introduced from the stage earlier in the evening, so people knew where she was sitting. If anyone in the audience had seen her beaming happily as the two unhappy brothers in the play shot and killed themselves, they might have jumped to wrong conclusions as to why I had left the Philippines, why I had safely chosen to keep my mother 7,000 miles away from me.

In any case, to my great surprise, after the hoopla of Conpersonas at the Kennedy Center was over, instead of returning with me to Lawrence, KS, where I had already been teaching as a Graduate Teaching Assistant in the English Department at the University of Kansas, my mother decided to spend some time with her friend Helen from the Philippines, whom she hadn’t seen for some time, who was now living in Brooklyn.  ”Helen never graduated from college,” my mother confided, “but already she is running her own business in Chinatown!”  My mother thought it might be fun to live with Helen for a while, perhaps even work for her for a while.

Hard as I tried, I could not picture my mother working in a sweatshop alongside all the illegal immigrants from China and Hong Kong packed to overflowing on the second floor of an old building in Chinatown that probably should have been condemned years ago .  And I was terrified that she might get mugged in the subways.  But there was no dissuading her.  In the Philippines, my mother was accustomed to having servants attending to her every need, chauffeurs driving her everywhere.  But now she was determined to be independent, to earn her own keep in America, just like an American, walking the mean streets of Lower Manhattan, daring anyone to mug her, in the subway or anywhere else. “Don’t worry about me,” she said.  ”Go back to Kansas.  I’ll be fine in New York with Helen.  She is like a daughter to me.  She will treat me like her own mother. If I get mugged, it will be God’s will, because I would not be here in America had you not invited me to come and see your play about those two brothers who killed themselves at the Kennedy Center.”

And so, with a heavy heart, I deposited my mother with Helen in Brooklyn.  But, before I left, I cautioned my mother never to look anyone in the eye when she’s out and about, never to argue with anyone who accosts her and, most importantly, to carry at least $20 at all times on her person, so she can give it to anyone who wants to rob her, to keep muggers from harming her because she wasted their time when they could have been mugging other rich old ladies. My mother looked at me oddly, as though I were in cahoots with her would-be muggers, but I wouldn’t leave until she promised.  And so she did.

Months went by. I called my mother two or three times a week from Kansas, and was delighted to hear that she loved New York, that she was “Miss Popularity” in the sorority of sweatshop sisters, and that she had yet to be mugged. According to my mother, Helen’s “factory” was turning out high-end clothing for fancy department stores like Bloomingdale’s, and it was her job to inspect the lingerie which were coming off “the assembly line.”  She was Inspector #17, and she tucked a slip of paper into every piece of lingerie after she was done inspecting it, signifying that the garment had been inspected by Inspector #17.

I used to daydream about anyone who might have bought any lingerie at Bloomingdale’s on Lexington Avenue and 59th St. in New York City between early May and mid-August of 1976. Chances are my mother had her finger on the unmentionables of unsuspecting shoppers like Kim Novak or Jane Fonda long before they slipped them on (or off) to charm their beastly bedmates.

When being Inspector #17 finally lost its glamour in that non-air-conditioned loft in Chinatown in the heat of August in New York, my mother decided it was time to visit me in Lawrence, KS.  Her arrival had been much anticipated by all my friends and colleagues at the University of Kansas.  She was going to stay for a couple of weeks, so I prepared a bedroom for her on the upper level of the house, with a bathroom all to herself.  I was giving a cocktail party for her. Lovely finger sandwiches were being prepared by a woman who was nearly blind, who lived in North Lawrence.  The only way I could ever find her house was by the three-foot tall statue of the Blessed Virgin Mary she had out on her lawn. A bartender had been hired to mix and serve drinks, and to help clean up the place afterwards. Invitations had been sent out to 75 people, and everyone had accepted.

When the appointed day arrived, my mother emerged from her bedroom, resplendent in one of the many bejewelled evening gowns she had brought with her from Manila, one of which she had worn the evening of my play at the Kennedy Center, but the others she had had no occasion to wear in Brooklyn or the sweatshops in Chinatown.  She was a big hit at the party, a merry widow too young to have a son like me.  Everyone loved her.  No one suspected her secret life as Inspector #17.

The morning after the night before, sometime around 6:30 A.M., I heard my mother scratching on my bedroom door.  ”Paul! Paul!” she whispered.

“What?  What time is it?  Why aren’t you still in bed sleeping?”

“Paul! Paul!” she repeated, more urgently.  ”Did you take the toothpaste from my bathroom upstairs?”

“What’re you talking about?  Why should I take your toothpaste?  Go back to bed, please.”

She went away, but only briefly.  Moments later, she was again outside my room, scratching on the door.  ”Paul! Paul!” again she whispered.

“What is it now?”

“Did you take the Revlon Blush-On from the bathroom upstairs?”

“What Revlon Blush-On?  What in God’s name are you talking about?”

“My Revlon Blush-On.  You know, for my make-up.  I cannot go out without my Revlon Blush-On.”

“Oh, for God’s sake.  What on earth would I do with your Revlon Blush-On?”

There was no going back to sleep, so we searched through all the drawers in her bathroom upstairs. The guests at the party had been using that bathroom all night.  All her travellers checks were still there, as were some of her more common everyday jewelry.  Nothing was missing except her toothpaste and her Revlon Blush-On.  It was a big mystery.  My mother burst out laughing.  She laughed so hard the tears rolled down her cheeks.  She laughed so hard, her knees were weak, and she had to sit on the toilet.  I’ve never heard her laugh like that, ever.

“What?  What’s so funny?”

“I lived for four months in New York, and nothing happened to me,” she howled.  ”Everyday, I put $20 in my purse like you told me, to give to muggers, and no one ever mugged me.  But I come to Lawrence, Kansas to meet your friends, and someone goes into the bathroom during the party and steals my toothpaste and my Revlon Blush-On!”

A couple of days later, when I was telling this story to some friends from the Theatre Department who had not been able to attend the party because they were in rehearsal with a play, one of them snapped to attention

“Wait a minute,” she exclaimed.  ”at one of our parties, the morning after, we discovered that someone had taken the Johnson’s Baby Shampoo!”

Others began to remember losing similar sorts of things from their bathrooms after parties of one sort or another. Nothing valuable.  Always small, inconsequential items.  A bathroom freak was among us!  An academic klepto!  We began to compare the guest list at these parties, and it did not take long before we thought we had our man…or woman.  No way of proving it, of course, but when I described the woman in question to my mother, she lit up immediately.  She remembered the woman, a recent arrival from Poland.

“Why, yes,” my mother laughed.  ”That woman asked me how I managed to keep my skin so soft, and I told her that the only make-up I use is Revlon Blush-On!”

Mystery solved.

After that first visit in August of 1976, my mother has been back to see me in Kansas three or four more times, and each time she doubles up laughing whenever I tell people about how she once dazzled an “admirer” in Lawrence with her pearly white Asian teeth and her blushing pink cheeks.

My mother is now 86 years old, living in Manila with my married sister, her husband and their three children.  It has been thirteen years since she has visited me in Kansas.  If she is reading this now, I doubt if the story will make her double up and laugh, like she used to.  I don’t know if she will remember the story at all.

My mother is suffering from Alzheimer’s.  My sister says that, these days, our mother just sits there all day, not recognizing anyone, but she smiles whenever she feels a friendly presence nearby.  I hope she is smiling right now because it’s Mother’s Day.  She has had many sorrows in her remarkable life, which I’ve written about in my play Mother Tongue, so perhaps it is a blessing that she no longer remembers the wars in China and the Philippines that she has lived through, the children she bore who should not have died so young. Although my sister, my brothers and I now choose to remember only the happy times we’ve had in each other’s company, someday we too will forget that we were ever even happy together.

Nice Boys Don’t Implode!

Paul August 28th, 2009

I’m directing a concert reading of THE DESIGNATED MOURNER, a dramatic discourse by Wallace Shawn, for English Alternative Theatre at the University of Kansas on Labor Day, so I’ve been thinking lately about why Shawn, who is such a fine and accomplished thinking-man’s playwright, is mostly known only for his work in the movies and on television.

First and foremost, there’s MY DINNER WITH ANDRE, the extraordinary 1981 film directed by Louis Malle, which Wallace Shawn and Andre Gregory scripted together and then appeared in, as themselves, having a lesurely dinner at a fashionable restaurant near Lincoln Center, all the while conversing most engagingly and eruditely about their wondrous lives in the theatre.  It’s the sort of conversation I often imagine myself having, in my dreams, with Plato and Aristotle, and sometimes with Socrates, but I always manage to wake up just in time when the Greek waiters in the taverna start filling my cup with hemlock.

Sadly, after MY DINNER WITH ANDRE, Wallace Shawn appeared in a lot of absolutely awful movies, chief among them an execrable exercise in sheer dementia called NICE GIRLS DON’T EXPLODE. Believe it or not, I’m in this movie with him. I’m in it because it was shot in my own backyard (so to speak) in Lawrence, KS, and the local casting director was a friend who thought, back in 1987, that I might be “perfect” for one of the smaller speaking parts.

If you look up NICE GIRLS DON’T EXPLODE in The Internet Movie Database, a certain Jeremy Perkins from the UK who has actually seen this dreadful movie offers the following synopsis of the plot:  “April has a problem.  Whenever she gets anything like passionate with a guy, all sorts of things seem to spontaneously combust.  The only men she meets more than once are firefighters.  Actually, it’s Mom’s way of trying to keep her little girl to herself, but new boyfriend Andy is having none of such nonsense.  So the heat’s on.  Unfortunately, it’s Fluffy the cat who keeps getting caught in the middle.”

April is played by someone I’ve never heard of. Likewise her Boyfriend Andy. But Mom is Barbara Harris, fresh out of Robert Altman’s NASHVILLE; and Wallace Shawn is a weird guy whom Mom enlists to help her convince April that she’s a dangerous firestarter.  On IMDb, two respectable professors from the Theatre Department at the University of Kansas are also credited as having parts in the movie: William Kuhlke as “Dr. Stewart,” and Jack Wright as “Maitre’d.”

Scroll to the very bottom of the cast list and you’ll see that I too am in the movie. But the character I play has no name.  I am merely called “Chinese Dad.”  Which is better than Fluffy the Cat, I suppose, who gets billed as “Orange Cat #5,” although I did find out during the shoot that this cool cat from L.A. was actually Morris from those adorable Purina catchow TV commercials.  Correction: one of six Morrises who all look exactly alike, so they can double for each other in the commercials.  In any case, “Orange Cat #5″ and “Chinese Dad” developed a special relationship during the shoot, but I’m getting ahead of the story.

Here’s how I became the most troublesome actor on the set of NICE GIRLS DON’T EXPLODE, although you would never know this from my performance if you should ever have the misfortune of seeing this abysmal movie.

To begin: Everyone in Lawrence, KS was excited about a movie (any movie) being shot in the same town where William Quantrill had shot and killed 167 men and teenage boys back in 1863. My friend, the local casting director, urged me to sign on for two short scenes, for which he said I would be paid (if I remember correctly) the princely sum of $850, not to be sneezed at even by today’s standards, 22 years later.  But it wasn’t really the money that convinced me to sign on; it was the chance to be in a movie with Wallace Shawn. Maybe Wally and I would become friends. He might write a feature-length movie for the two us to appear in, as ourselves.  It could be called MY DIM-SUM LUNCH WITH PAUL. Or, at the very least, if the movie turns out to be only a short subject, MY MERIENDA WITH PAUL.

But, back to reality: I was given a couple of pages of the script for the first of my two scenes in the movie.  In it, Boyfriend Andy, an avid pingpong player, fantasizes that he’s in China playing against the Chinese Champ in a public auditorium.  Sitting in the VIP section watching the match are Mom, April accompanied by Fluffy, and me dressed in a Mao jacket (with a spiffy red scarf around my neck) as a Chinese Dignitary. Fluffy is squatting on April’s lap on my immediate left. At one point during the game, I’m supposed to turn to the cat and say, with a thick Chinese accent, just three words, the first one of which is just a sound: “Oooooo…nice cat.”  And then the camera zooms in for a tight close-up of Fluffy, as the pingpong game continues.

The scene was shot in the gymnasium of Haskell Indian Nations University near downtown Lawrence.  I don’t know where they found all the Asians to fill that large venue, but there they were, my people, hordes of them, chattering away in all the incomprehensible dialects of our common mother tongue. Someone said that my people had been rounded up like cattle in Chinese restaurants all over Kansas and Missouri, and that they had been bussed in for the day’s coolie labor.  The whole scene took over ten hours to shoot, with a brief lunch break when we were all given small lunch boxes from Kentucky Fried Chicken to keep us calorically full and filled but not fulfilled.  So that’s how General Tso got licked by Colonel Sanders in Kansas!

Before we all left for the day, Chuck Martinez, the Hispanic-American director of the movie, said my work in the scene with Fluffy was “fine.”  They would be in touch “soon” about my second scene. The Lawrence Journal-World printed daily reports on the progress of the shoot, and I became somewhat concerned when I read in the paper that they were starting to “wrap up” the movie, and I still had not heard from them. Finally, late one afternoon, I got the telephone call. They gave me the address of an old house, again near downtown Lawrence. They told me to report for make-up and wardrobe at eight o’clock that night.

When I showed up, they introduced me to the Chinese wife and two Chinese children of a Chinese colleague at the University of Kansas.  They were supposed to be my wife and children in the scene we were shooting. There was also an ancient Chinese woman present who was supposed to be my mother or grandmother.  Where they found this old woman, I have no idea.  At wardrobe, they gave me a long Chinese gown to wear which made me look like Fu Manchu.  And then I was given the pages of the script for the second scene.

This time, there are no Caucasian actors around, just me and my traditional Chinese family, sitting eagerly around a dinner table on top of which is a burbling Mongolian hot pot.  It’s burbling because it’s filled with water, and a person in charge of props had just dropped some dry ice into it.  Again, for some reason, Fluffy is squatting on a cushion on the chair to my immediate left. And again I am supposed to turn to the cat, speaking with a heavy Chinese accent.  But this time I say more than three words.  This time I say:  ”So glad you can join us for dinner, Honorable Cat.  We all love cat.” Snicker, snicker, snicker. Then I’m supposed to pick up the cat and hold it over the burbling hot pot as the camera zooms in for another tight close-up of the terrified creature.  The whole sequence, apparently, is Fluffy’s fantasy, provoked by the earlier pingpong scene, when I had leaned over in his direction and said, “Oooooo…nice cat.”

Needless to say, I was horrified for any number of reasons by this scene, so I raced out into the night in my garish Fu Manchu robes looking for Chuck Martinez, the director.

“Look,” I said, when I finally found him, “we Chinese eat a lot of things–shark’s fin, bear’s paws, monkey’s brains, snakes and puppies–but WE DO NOT EAT CATS!”

“So?”

“So the scene misrepresents my people.”

“Your people?”

“Yes.  How would you like it if I were to cast you in a movie as a greasy Mexican bandido who, when he’s not robbing and killing gringos, is always found sleeping slothfully underneath a gigantic sombrero?”

“That’s beside the point.  I’m the one making the movie, not  you.  You signed the contract, you cashed the check, and now you will do the scene exactly as it is written.”

“You can have your money back.”

“A contract is a contract.  You will do the scene exactly as it is written.  We have lawyers…”

“And I have friends in the Asian-American community in New York and Los Angeles who will protest and boycott your movie when you are foolish enough to release it.”  He knew I was referring to the furor created by David Henry Hwang and other Asian-Americans over the Broadway production of MISS SAIGON.

“That’s ridiculous.  A contract is a contract.  You will do the scene exactly as it is written.  We have lawyers…”

And so I returned to the shoot and did the scene exactly as it was written.  But, when it came time for me to pick up Fluffy and hold him over the burbling Mongolian hot pot, even though the cat had been sedated for the scene, “Orange Cat #5″ went totally ballistic and started clawing wildly at my hands and arms.  I was starting to bleed from all the scratches.  No matter, I said to myself, be Zen-like, stoical. NICE GIRLS DON’T EXPLODE, and NICE BOYS DON’T IMPLODE.

“Pssssst!” the animal-trainer from L.A. hissed at beast.  “Pssssst!”

They covered up my wounds with make-up, and we tried shooting the scene again.

“Pssssst! Pssssst!”

It didn’t work.  ”Orange Cat #5″ continued to mangle and maul my hands and arms.  More make-up to cover up the wounds. After the third try, I turned to the director and smiled benignly, “My contract says nothing about my getting injured, and getting God knows what sorts of diseases from this cat.  I have lawyers…”

“It’s a wrap!” the director yelled suddenly, and we all went home, me to further nurse my wounds with Mercurochrome and rubbing alcohol, thinking all the while that, to add insult to injury, I had never actually met Wallace Shawn the whole time he was shooting his scenes in Lawrence.

When NICE GIRLS DON’T EXPLODE was released commercially and had its big premier in Lawrence, I refused to see it, but friends who did told me I was not actually in it, even though I was listed in the end credits as “Chinese Dad.”

Curiously enough, because of that damned contract which I signed, to this day I continue to get residual payments for my “work” in the movie, even though my two scenes never made it to the final cut.  Every time they sell the movie to some unsuspecting third-world country or two-bit airline, I get a check in the mail for some astonishing amount like $1.12 or less.  I have never cashed these checks.

But when the DVD was released on June 12, 2007, I finally gave in and bought a copy, hitting the pause button frequently during that whole pingpong episode. If you don’t blink, you  will catch a glimpse of me in my Mao Jacket and my spiffy red scarf, sitting beside April with Fluffy on her lap but, Confucius be praised, I don’t appear anywhere else in the movie. There are no “special features” on the DVD, no revelation of “deleted scenes.”  Big sigh of relief.  And I’ve just learned from Amazon.com that “this item has been discontinued by the manufacturer.” Hmmmm.  I wonder why.

On its website, IMDb lists no other movie credits for me, nor for Paul Harris, the man who wrote the screenplay for NICE GIRLS DON’T EXPLODE.  But for Chuck Martinez, IMDb lists two other directorial credits, a made-for-TV movie in 1988 called SUPERBOY, and a full-length commercial release called THE EFFECTS OF MAGIC in 1998, about a magician and his talking bunny.  Nothing after that.  I ought not to be glad because I now believe, underneath it all, just like “Orange Cat #5,” he is, we are, all of us, just helpless creatures frightened of all the burbling Mongolian hot pots in our lives.

To conclude:  I wonder if Wally is on FACEBOOK.  I could “poke” him, invite him to visit Lawrence again, ask him to attend the concert reading which I’m directing of his play THE DESIGNATED MOURNER on Labor Day.  Afterwards, we can go out for a drink or two (or three), chat till the wee hours of the morning, then go have a bite somewhere.  All this time, of course, he can be taking notes for his next film and/or dramatic discourse, MY PANCAKES WITH PAUL.