Flower Drum Song

Flower Drum Song: A Musical Journey Through Generational Conflict

Flower Drum Song, the eighth musical by Rodgers and Hammerstein, is a fascinating blend of cultural conflict, love, and tradition. This musical premiered on Broadway in 1958, based on C.Y. Lee’s novel of the same name, which itself was inspired by Lee’s own experiences as an immigrant from China.

Flower Drum Song tells the story of Wang Chi-yang, a refugee living in San Francisco’s Chinatown, and his son Ta, who struggles with his identity between Chinese traditions and American culture. The musical explores themes of assimilation, love, and generational gaps, making it a poignant reflection on the immigrant experience.

But why did this musical face such challenges? Could it be that the portrayal of Asian-Americans was too sensitive for its time? Or perhaps the casting issues were simply too daunting to overcome?

The Making of Flower Drum Song

Rodgers and Hammerstein, known for their groundbreaking works like South Pacific and Gentlemen Prefer Blondes, took on this project after the failure of their previous musical, Pipe Dream. They were dealing with personal issues—Rodgers was battling cancer and depression, while Hammerstein was working in Los Angeles. Their collaboration on Flower Drum Song was a testament to their resilience.

The musical retained the central theme of conflict between Old World immigrants and their New World offspring but shifted focus from Wang Chi-yang to his son Ta. This shift made the story more lighthearted and comedic, taking the safest commercial route by following Ta’s search for love. However, this approach was less artistically adventurous than earlier Rodgers and Hammerstein hits.

Cast and Production Challenges

The team struggled to cast an Asian cast due to strong demand for few Asian actors. Kelly and choreographer Carol Haney traveled across the US to find talent, with Ed Kenney found in Honolulu and Goro ‘Jack’ Suzuki discovered through a newspaper ad in New York’s Chinatown. The role of Fong proved particularly difficult to cast, leading to several Caucasian performers being considered before Juanita Hall was cast as Madam Liang.

Despite these challenges, the musical opened with an enthusiastic audience response in Boston on October 27, 1958. Hammerstein’s presence during rehearsals ensured that changes were made to songs and the book, including cutting ‘My Best Love’ and transforming it into ‘You Are Beautiful.’

Flower Drum Song on Broadway

The musical opened on Broadway at St. James Theatre on December 1, 1958, running for 600 performances. It received six Tony Award nominations but won only one (Best Conductor and Musical Director). The show attracted considerable advance sales and strong sellouts, with attendance beginning to decline in December 1959, leading to its closure on May 7, 1960.

Despite the initial success, the musical faced criticism for its portrayal of Asian characters. Some saw it as stereotypical and patronizing, while others felt that adaptations made in the 1980s and 1990s were more authentic. In 1996, playwright David Henry Hwang considered reviving Flower Drum Song, a show deemed ‘political incorrect’ by Chinese-Americans due to its depiction of Asian stereotypes.

The Revival: A New Chapter

Hwang was given a free hand with dialogue but not allowed to change lyrics. The production team retained character names and settings while introducing new characters, plot twists, and themes, including the struggle for survival in Chinatown and the pursuit of material success.

The 2002 revival at the Mark Taper Forum received rave reviews, leading to a Broadway run that struggled with mixed reviews and a sluggish economy. However, subsequent productions have favored Hwang’s script, and it has been revived in other cities, proving that the story still resonates today.

Conclusion

The journey of Flower Drum Song from its initial Broadway run to its revival is a testament to the enduring power of storytelling. It challenges us to question our perceptions and embrace the complexities of cultural identity. As we continue to navigate the ever-evolving landscape of theater, Flower Drum Song remains a vital reminder of the importance of authenticity and self-awareness in our narratives.