Displaying items by tag: Seoyoung Park

Asian American Arts Chicago (AAAC) announces the Festival schedule and that tickets are now on sale for EVOLUTION: Asian American Arts Festival, Saturday, May 2 from 12 - 8 p.m. and Sunday, May 3 from 10 a.m. - 6 p.m. at the historic Lookingglass Theatre’s Water Tower Water Works, 163 E. Pearson St. at Michigan Ave. EVOLUTION: Asian American Arts Festival is a two-day celebration of the transformation and creativity of Asian American, Pacific Islander and Native Hawaiians in Chicago and includes more than 125 artists and performers, from a variety of disciplines including dance, theatre, interactive art displays, film and music and a food and craft market representing the community. The complete festival schedule is now available at AAAC.art with tickets, $25 - $120, online, in-person and Festival Passes, are available at AAAC.art. 

Asian American Arts Chicago’s mission statement is to support and amplify artistic expression from the Asian American diaspora in Chicago, Illinois. AAAC produces festivals, performances and supports a database of Asian American identified artists to provide better representation, equity and opportunity.

“Chicago has the fifth largest Asian American population in America and we’re the fastest growing group in Chicago and nationally. Yet, as a Korean American performing artist for more than 25 years in Chicago, I wasn't given the same opportunities as my peers,” said Executive Producer Mia Park. “This Festival creates space for Asian American, Pacific Island, and Native Hawaiian makers and creators to showcase their work and connect. The aim of the festival is to amplify and celebrate these voices.”

Producer Seoyoung Park adds, “As an Asian-identifying female artist based in Chicago, I’m excited that this festival will bring together Asian American, Pacific Island and Native Hawaiian artists and audiences to celebrate creativity and connection. It’s an important step toward building a stronger, more unified community.”

Highlights of Chicago’s brightest talents participating in EVOLUTION currently include:

Saturday, May 2

Festival hours: 12 - 8 p.m.

Upstairs 

12 - 8 p.m. 

Vendor/Music: Henna Zamurd Butt

12:15 p.m. (60+ minute showcase)

Spoken Word Showcase: Lisa Low, Randy Kim, Sofia Javed

1:45 p.m. (30+ minute showcase)

Theatre Showcase: Catherine Yu, Zihan Xiong, Zachary Series, Aqdas Aftab, Tanima

2:45 p.m. (45 minute performance)

Performance Lecture: Olivier 

4 p.m. (30 minute performance)

Multimedia Dance: Noori, Wannapa P-Eubanks

4:45 p.m. (40 minute performance)

Theatre: Rusty Allen

5:45 p.m. (40+ minute showcase)

Standup Comedy Showcase: William Paik, Bok Joy, Yzzy Zarate, Jerry Tran

6:45 p.m. (55 minute showcase)

Films by KT Wester, Leena Kurishingal, Christina Seo 

Downstairs

12:30 p.m. (45 minute performance)

Live Music: Sona Umbra

2 p.m. (45 minute performance)

Live Music: Kay tear

3 p.m. (30 minute showcase)

Dance Showcase: Preeti Veerlapati, Vrisa Odedra, Mustafa Anwar 

4:30 p.m. (15 minute performance)

Performance: AiRos 頌恩 medill

5 p.m. (40 minute performance)

Live Music: My Little Realities

6 p.m. (15+ minute showcase)

Drag: Twinka Masala, Tiffany Miller

Audiences are encouraged to bring dollar bills to tip the performers. 

7 p.m. (30 minute performance)

Live Music: Ochin Pakhi

Sunday, May 3, 2026

Festival hours: 10 a.m. - 6 p.m.

Upstairs

10:15 a.m. (40 minute performance)

Theatre Solo Show: Lauren Kee

11 a.m. - 4 p.m. 

Pop-Up Book Workshop: Jaerin Son

11:30 a.m. (30 minute performance)

Theatre Solo Show: Huy Nguyen

12:30 p.m. (60 minute performance)

Theatre Solo Show: Kento Morita

2 p.m. (45 minute showcase)

Film Showcase: Hannah Ii-Epstein, Okyoung Noh, Asuka Lin

3 p.m. (40 minute showcase)

Spoken Word Showcase: Ada Cheng, Jeannie Hua, Ivy McPherson

4 p.m. (20 minute performance)

Solo Performance: Xiaolu Wang

4:45 p.m. (60 minute showcase)

Comedy Showcase: Becca Nix Tham, Mantra, Stir Friday Night 

Downstairs

Flashmob Dance: Ajumma Rising

10:15 a.m. (20+ minute performance)

Music: Treblemakers

11:30 a.m. (45 minute performance)

Music: Dawn Xiana Moon 

1 p.m. (40 minute performance)

Music: Steven Cristi Music 

2 p.m. (10 minute performance)

Tap Dance: Megan Davis, Martin Bronson, Tristan Bruns

3 p.m. (20 minute performance)

Dance: IS/LAND with Qū Jié, Olivia Lemmenes, Tuli Bera

4 p.m. (45 minute performance)

Music: Sierra Sikora Music 

5 p.m. (30 minute performance)

Music: SamaSama Project 

Highlighted performances include:

• Sierra Sikora is a 19-year old Filipino American guitarist and singer songwriter making huge waves

• Native Hawaiian Hannah Ii-Epstein is artistic director of Nothing Without a Company and presents her short film 

• Korean American puppeteer and artist Jaerin Son presents an interactive workshop teaching festival goers how to create their own pop-up books, and displays her handmade puppets

• Jerry Tran is a Vietnamese American comedian who produces and hosts comedy shows at First Sip Cafe, a longtime staple in Chicago’s historic Argyle neighborhood

• Twinka Masala is an award-winning drag king who hosts South Asian and Middle Eastern drag shows and facilitates drag workshops

• Kirin Kane is a queer multiracial AAPINH person who uses mixed media sculpture and installation to investigate the intricacies of cultural belonging.

2D/3D Art: Images of fine art will be displayed in rotation on a monitor in the upstairs lobby throughout the festival. Expect multiple images from these fine artists: Aireen Arellano, Kirin Kane, Bazigha Khan, Jenny Lam, Heather Marcum and Donna Noel.

Highlighted food and craft market vendors for EVOLUTION currently include:

• Food vendor Pink Mu makes fresh Korea kimbap, triangle kimbap and korean-style rice krispies daily

• Banato is a women-owned company making fruit based beverages and fruit based popsicles. Banato will sell out of their happy yellow food cart

• The Punk Rock Stitcher is Sam Riesmeyer who hand embroiders dragons using Chinese silk. Their designs are inspired by traditional Chinese art and contemporary tattoo artists

• Shayne Draws Food is craft vendor Shayne Chammavanijakul, a Thai-American food writer and illustrator whose work explores culture, identity, and nostalgia through the lens of food

• Henna Zamurd Butt is an East African Asian artist who sells small-batch functional and sculptural ceramics alongside a selection of cyanotype and hand-printed works.

*Performers, artists, vendors, etc. subject to change.

EVOLUTION: Asian American Arts Festival Ticket Information:

Limited tickets will be sold online and provide priority entrance to the Festival. All tickets include Festival souvenirs, access to live performances, interactive art displays and the food and craft market. If entry lines form due to venue capacity, online ticket holders will have priority entry. Walk-up tickets will be available as capacity permits. Guests may check the AAAC Instagram account story for live updates on festival admission at @AAArtsChicago. 

Online tickets

$120 VIP ticket includes handcrafted gourmet pastry, festival photograph, festival souvenirs, attendance to all performances, access to the food + craft marketplace and re-entry permitted

$65 One-day Pass includes festival photograph, festival souvenirs, attendance to all performances, access to the food + craft marketplace and re-entry permitted

$35 General Admission includes festival souvenirs, attendance to all performances, access to the food + craft marketplace with no re-entry permitted $30

Students ages 13 years and older with ID includes festival souvenirs, attendance to all performances, access to the food + craft marketplace with no re-entry permitted

$25 Children ages 5 - 12 years must be accompanied by an adult. Please note that there may be performances or art work intended for mature audiences. 

The EVOLUTION: Asian American Arts Festival Leadership includes:

Executive Producer Mia Park has been a polymath creative force in Chicago for over thirty years. Acting highlights include TV shows “Chicago Med,” “Chicago Fire,” “Chicago PD,” “Shameless,” and “Empire.” Theatre credits include Goodman Theatre and Court Theatre. Music credits include Chicago’s only Asian American female rock band, Kim, The Miyumi Project and Panda Panda. Creative producing credits include founding A-Squared Theatre Workshop, producing the national Asian American Theatre Festival, APIDA Arts Festival, Covers for Cover music fundraising series and Old Town School of Folk Music programming. Park teaches taiji and yoga, is an adjunct professor at The Theatre School at DePaul University and teaches acting at the Second City Training Center.

Producer Seoyoung Park is an actor, theatre director, educator and producer of AAAC’s EVOLUTION Festival. Born and raised in Seoul, she considers Chicago her second home. Recent acting credits include Seattle Rep’s The Heart Sellers, Northlight Theatre’s The Heart Sellers (2025 Jeff nomination, Performer in a Principal Role), and TUTA Theatre’s Attempts on Her Life (2024 Jeff, Best Ensemble), Tom&Eliza and The Long Christmas Dinner. She directed TUTA Theatre’s Lab Performance Three Horse Men. She is a member of TUTA Theatre Company, an Artistic Coalition member of Artemisia Theatre and the executive director of Alien Theatre Company. She holds an MFA in acting from DePaul University and a B.A. and M.A. in acting from Chung-Ang University. 

Other Festival leaders include photographer and film documentary director Kelly Ngo from Chromatone, a creative studio that specializes in the commercial space, particularly in food and beverages. Ngo is a Vietnamese-American photographer, storyteller and creative director based in Chicago and draws inspiration from quiet observation, color and form and the emotional undercurrents of everyday life.

Aimee Alker is the vendor manager for EVOLUTION and served on the play selection committee for the APIDA Arts Festival. A Chicago-based writer and editor, she's spent years immersed in the Asian American arts community, performing with Circa-Pintig, A-Squared Theatre Workshop and the Nara Movement Project. She’s currently working on a writing project and is thrilled to champion fellow AAPI artists to help shape a festival that feels vibrant and deeply rooted in the community.

Anthony Nguyen is a Vietnamese American concert/live performance photographer who served on the Festival Selection Committee. He is a staff photographer for Riot Fest and Chicago Theatre and an attorney with entertainment and business law experience.

ABOUT ASIAN AMERICAN ARTS CHICAGO

Asian American Arts Chicago is a not-for-profit organization. The mission of the Asian American Arts Chicago Festival is to amplify and unify Asian, Pacific Island and Native Hawaiian artists in Chicago by showcasing their work at premier cultural institutions, providing greater representation, equity and opportunity.

By showcasing and bringing together the creativity and imagination of Asian, Pacific Island and Native Hawaiian, AAAC Festival envisions a strong and sustainable AAPINH arts community that is an integral presence in Chicago’s culture - evocative of our past, declarative of our present and innovative towards our future. The programming includes a self-populated artist directory, networking events and a festival dedicated to AAAC.

It’s still fairly early in the evening. At this point, the turkey is in the oven, and Jane and Luna are each a couple sips into their bottle of wine. Conversation is nervous. The two women still do not know each other too well, and while Luna is ready with her conversation starters, Jane remains more hesitant. They don’t quite know where to sit, and while they can tell the other feels awkward, neither knows how to comfort the other.

Then, the subject of music comes up. Not only do they both enjoy disco, but it becomes clear that they both love to dance. Luna runs to get the radio and upon finding the right station, the entire mood shifts. Luna begins a dance step – inviting Jane to follow. Then it’s Jane’s turn to lead, and the two continue to switch off – each inviting the other to meet their level of silliness and joy. As the two laugh and dance, it becomes clear they finally found the push they needed. Now that the ice is broken, a friendship can truly blossom. The audience at this performance was laughing right alongside the actors – making it clear that the fun was spreading and we as witnesses were ready to see this friendship succeed.

Written by Lloyd Suh, The Heart Sellers takes place on Thanksgiving of 1973 – inspired by the Immigration Act of 1965 (or the Hart-Celler Act). Luna (Aja Alcazar) and Jane (Seoyoung Park) are recent immigrants, having moved to the United States with their husbands who are forever busy with their residencies at the hospital. Alone on this holiday, Luna invites Jane on a whim to her apartment – where they share a bottle of wine and attempt to cook a frozen turkey. Over the course of the story, we witness these strangers begin to bond. While the conversations begin hesitantly, the two slowly open up. As they slowly transition from conversations about their workaholic husbands to deeper reveals of dreams and hopes for the future, you might just find it’s impossible not to lean in and share that joy alongside them.

Skillfully directed by Helen Young, the production is intimate and full of good humor. Young’s artistic team does a stellar job extending that charming energy throughout the theater. Scenic Designer John Culbert welcomes the audience into Luna’s small, colorful apartment. With the close-knit feel of Northlight’s space, it’s hard not to feel like you are in the apartment alongside the women – which is certainly ideal for a two-hander like Suh’s play.

At its heart, this is a story about a blossoming friendship, and the artistic team focuses their designs on highlighting the women at the center – making it easy to enjoy the genuine chemistry between these two talented actors. As much as this production is full of warmth, the story carries its heavier moments – particularly as the women discuss their challenges around coming to a new country and leaving their families behind. Alcazar and Park move through these ups and downs with grace, creating an emotional roller coaster that you might find sneaks up on you as you realize how invested you are in the story. 

Standout performances and a moving script alone make The Heart Sellers an enjoyable evening at the theater. Given the current backdrop that currently lives in our country, you might also find that this Suh’s exploration of an important moment for immigration also makes the production a potent and relevant one.

RECOMMENDED

The Heart Sellers runs through February 23 at Northlight Theatre – 9501 Skokie Boulevard. See the Northlight Theatre website for more information regarding tickets.

Immediately following the gastronomical excesses of Thanksgiving are the monetary investments and personal sacrifices we make for Christmas.  At the heart of both is family and the importance we place in coming together to sustain and strengthen seminal bonds. 

In 1931, a 34-year-old college professor at the University of Chicago took the long view of these ritual gatherings and focused on what they look and feel like over time.  In his beautifully crafted one act play, The Long Christmas Dinner, Thornton Wilder also manages to deliver an incisive and sobering treatise on time and its fleeting fragility.  What he does so exquisitely in the 26 pages of his script is to point us in the direction of using that time most fully and appreciatively.  Chicago’s TUTA Theatre, who “searches for the unique and exceptional in the language of theatre”, has generously brought this rarely produced treasure to the stage at the sparkling new Bramble Arts Loft in Andersonville for the Christmas season.

Wilder has the prosperous Bayard family act as proxies for all families and takes us with him as he visits them experiencing Christmas dinners that span the course of 90 years and four generations.  He pays close attention to how the family interacts and the way they voice convictions, concerns and priorities.  In many ways, perhaps in all ways, they’re a very typical and intrinsically familiar family.  That notion becomes more and more entrenched as the play progresses.  When it opens, Lucia (Alexis Primus) is about to welcome her mother-in-law, Mother Bayard (Joan Merlo), to the dinner table of her new home.  Her husband, Roderick (Matt Miles) leads the family firm and is the classic head of the house as seen in the era.  Proud of his wife, his mother and his success, he glows with the light of the supremely satisfied.   Although wheelchair bound, Mother Bayard’s vibrant mind and observant eye reveal a robust inner vitality.  It’s her penchant for too frequently repeating how clearly she remembers seeing Indians in the streets during her youth and riding rafts across the Mississippi that hint at the creeping cognitive malaise common found in the aging.

Although rather formal by today’s standards, you can still easily recognize that beneath the rituals of decorum the family practices in their interactions that there is a true closeness of hearts. You feel how sacrosanct kinship is to them. Still, the circle of life encompasses families just as it does individuals.  We are born and we die.  And it’s the way that The Long Christmas Dinner treats these events that make us evaluate ourselves and our relationships with our own families.

The entire play occurs around a stately dining table in the middle of the stage.  Laden with gleaming silverware and China, the luxurious Oriental carpet it rests on and the elegant linear chandelier floating above it are the few things that will remain unchanged.  Two dimly lit doorways, one on the left and the other on the right of the stage, represent the ending and beginning of life, respectively.  Keith Parham’s quietly graceful set surreptitiously becomes its own character.   Stoic and impassive as it witnesses transitions through each doorway.   His lighting design would go on to memorably propel and enhance the dramatic impact of the play. 

Watching the arch of Uncle Branden’s presence was particularly impactful. Full of life, song and playful mischief, he was such a bright light when he first came to dinner.  Assuredly played by Wain Parham, he began to change when Roderick, his cousin, fell victim to his excesses in drink.  Branden’s silence began to grow when Roderick later passed through the doorway symbolizing death.  As he watched Roderick and Lucia’s children, Charles (Huy Nguyen) and Genevieve (Charlie Irving) grow, his warmth remained, but his effervescence and spontaneity notably faded until he too slowly drifted through the portal on the left.

As new generations of Bayard’s are born, explosions of joy and happiness are plentiful on the right where nurses dressed in immaculate white emerge through the passageway cradling babies who soon grow to teenagers and adults.   Often bearing the names of those who proceeded them, old names become new again and we can’t avoid noticing the cyclicality of existence.  Rather than a crown denoting succession, among the Bayard women a shawl becomes the item that chronicles the passage and toll of time.  Used to keep aging shoulders warm, it symbolizes both the inevitable and the blessing of continuity.   That same continuity can be heard when certain random phrases and observations are made by each successive generation that none had heard spoken before by someone else in the family.

Rifts, discord and the realities of life erupt in this very respectable family as they can and do in all.  Stifled by family expectations and the limitations of living in a small town, Charles’ son, Roderick II (Matt Miles) bolts to California when confronted about his drinking and lack of interest in familial responsibilities.  Charles and his wife Leonora (Seoyoung Park) had already lost a son during the first World War and their second son’s departure marked a crippling blow.  As we’re reminded by numerous characters throughout the play, time may not heal grief, but it soothes sufficiently to ease its pain and weight.  When Joan Merlo reappears as distant cousin, Ermengarde, that kind of wisdom flows with the power of rushing rapids.  A highly accomplished craftsman, Merlo’s phrasings of speech were transfixing as she wrapped the profound in tiny pellets of simplicity.  Her gleam of excellence ran through the entire cast, who were uniformly splendid. 

Most impressive was the meticulous pacing and abundance of satisfying nuance director and TUTA co-artistic director, Jacqueline Stone, built into the production.  She insured small gestures resonated with unexpected force and light touches of humor glittered brightly enough to make the project shine with warmth and contemporary flair.

In a time and landscape where holiday entertainment options are virtually endless, The Long Christmas Dinner counts as an especially rewarding option from a company who has a knack for curating works of discreet brilliance.

The Long Christmas Dinner

Through December 29^th, 2024

TUTA Theatre Company

Venue:  Bramble Arts Loft

5545 N. Clark Street

Chicago, IL  60640

https://www.tutatheatre.org/the-long-christmas-dinner-tickets