The official website of Velina Hasu Houston with information regarding her literary career and events.
"Tea, With Music," Photo by Michael Lamont
Tea, With Music, Book and Lyrics by Velina Hasu Houston and Music by Nathan Wang, is based upon Houston's play, Tea, a story about five Japanese international brides that preceded The Joy Luck Club by several years and also inspired it. The play was written in 1981, had a Rockefeller Workshop Production in 1984, and premiered Off-Broadway at Manhattan Theatre Club in 1987. The musical opened in 2012 at East West Players, directed by Jon Lawrence Rivera. Produced and studied internationally, Tea is the most presented play about the Japanese female experience in the United States and beyond. The book for Tea, With Music was a 2013 L.A. Stage Alliance Ovation Awards nominee for Best Book of an Original Musical.
B I O G R A P H Y
"Tea is not quiet, but turbulent... the eye of the hurricane."From Velina Hasu Houston's Tea
BIOGRAPHY IN BRIEF
Velina Hasu Houston is an internationally celebrated writer with over twenty-four commissions in theatre and opera. In New York, U.S. nationwide, and globally in Asia and Europe, her work has been produced to critical acclaim at prestigious theatres. She was the first-ever Playwright-in-Residence at The Pasadena Playhouse, State Theatre of California; and a Fulbright Scholar (Fulbright project, Aoyama Gakuin Daigaku, Tokyo, Japan). Current projects are with Los Angeles Opera, TheatreWorks (Palo Alto, California), Playwrights' Arena/Center Theatre Group, Hero Theatre, San Diego Repertory Theatre & Amigos Del Rep, and National Public Radio. Honored by The Kennedy Center, Smithsonian Institution, Rockefeller Foundation, Japan Foundation, Wallace Foundation, Doris Duke Charitable Foundation, and others, she founded graduate playwriting studies at the University of Southern California. At the USC School of Dramatic Arts, she is Distinguished Professor of Dramatic Writing, Director of MFA Dramatic Writing, Head of Undergraduate Playwriting, and Resident Playwright. Currently for USC, she is Co-chair of the University Committee on Appointments, Promotion, and Tenure; and Chair of its Arts Panel. At USC, Houston also is an Associated Faculty member of the USC Shinso Ito Center for Japanese Religions & Culture; and on the Affiliated Faculties of East Asian Studies and American Studies & Ethnicity. In 1992, she co-founded the study of Asian American culture at USC, which has now become a formal program at the university. Houston served on the U.S. Department of State's U.S.-Japan Conference on Cultural and Educational Interchange, Japan-U.S. Friendship Commission, and U.S.-Japan Bridging Foundation for six years. She is the only U.S. playwright to amass a body of work that explores the U.S.-Japan relationship through a bilateral, global view of identity. She serves on the editorial board of the Journal of Critical Mixed Race Studies and is on the Board of Advisors for the Multiracial Americans of Southern California. In fall 2016, she participated in an international seminar at Kyoto University's Institute for Research in the Humanities entitled "Trans-Pacific Japanese American Studies," curated by Professor Yasuko Takezawa. Her archives are with The Library of Congress, Washington, D.C.; and The Huntington Library, San Marino, California. Her blog, Matchabook, is at http://www.matchabook.wordpress.com. She is married to Peter H. Jones of Manchester, England; and has two children, Kiyoshi and Leilani.
Internationally acclaimed playwright Velina Hasu Houston has written over thirty plays including over 24 commissions in a career that began Off-Broadway with her play Tea at Manhattan Theatre Club and American Dreams at Negro Ensemble Company. Her plays have been produced at important theatres globally including Manhattan Theatre Club, Negro Ensemble Company, Old Globe Theatre, George Street Playhouse, Pittsburgh Public Theatre, Smithsonian Institution, Whole Theatre (Olympia Dukakis, producer), NHK (Japan nationwide), Pasadena Playhouse, Syracuse Stage, Los Angeles Theatre Center, Odyssey Theatre Ensemble, A Contemporary Theatre, Playwrights’ Arena, and others including in the People’s Republic of China, Japan, Singapore, Australia, and Malaysia. Houston also writes opera, musical theatre, television, and film and is a published poet and essayist. She has completed a novel, Tea, based upon her play Tea. She is the only U.S. playwright to amass a body of work that explores the U.S.-Japan relationship through a bilateral, global view of identity.
Currently, Houston is working on projects with Playwrights' Arena, San Diego Rep/Amigos Del Rep, Los Angeles Opera, Hero Theatre, TheatreWorks, and others. She is fulfilling a commission with Los Angeles Opera as a co-librettist (with Mr. Shishir Kurup) of Another Perfect Day. Last year, she completed a commission with Playwrights' Arena in association with Center Theatre Group to write for the collective The Hotel Play; and The Peace Project as part of The Women & War Project, Ryerson Theatre, Ryerson University, Toronto, Canada. Her play, Little Women, an adaptation of the Louisa May Alcott novel "Little Women," reframed in a Japanese, Chinese, Mexican, South Asian, Multiethnic, and African American world in 1950s Los Angeles, was presented at The Pasadena Playhouse in June 2016 in partnership with civic organizations and at Playwrights' Arena in 2017. Her musical Cinnamon Girl (Book and Lyrics by Houston, Music by Nathan Wang) was produced by Playwrights' Arena in Los Angeles and Beijing (Zhongguancun International Musical Festival). Tea was produced in China in 2017. Calligraphy (which premiered in 2010 at Playwrights’ Arena/Latino Theatre Company at Los Angeles Theatre Center) was produced at TheatreWorks in 2017. Other projects include The DNA Trail (Silk Road Theatre Project/Silk Road Rising with the Goodman Theatre), The Intuition of Iphigenia (multinational commission [US-UK-Canada-Greece-Croatia] with Timberlake Wertenbaker andJudith Thompson (Athens and Vlichos, Greece); in opera, Jonah and the Whale (Los Angeles Opera, Composer: Jack Perla, Libretto: Velina Hasu Houston, premiere 2014), A Spot of Bother; and Empress Lily, a reframing of the King Lear mythology in a Japanese, Japanese American, African American, and biracial world.
Houston also writes theatre for young audiences including The Matsuyama Mirror (Kennedy Center New Visions/New Voices, Singapore Youth Festival, Honolulu Theatre for Youth, published by Smith and Kraus and YouthPLAYS) and Hula Heart (published by University of Texas Press). A collection of her plays, Green Tea Girl in Orange Pekoe Country: Selected Plays of Velina Hasu Houston, was published in 2014 and is available on Amazon.com.
Working internationally is important to Houston as a transnational individual. In 2015, as a Fulbright Scholar she conducted workshops at Aoyama Gakuin Daigaku and Keio Daigaku. She is in progress with a play and film about the Hiroshima bombing and post-nuclear societal impact (Hiroshima, Dance) with True Heart Films and Eleven Arts. She is working on two musical projectswith composer Nathan Wang. In fall 2016, she participated in an international seminar, "Trans-Pacific Japanese American Studies," at Kyoto University's Institute for Research in the Humanities. The seminar was curated by Professor Yasuko Takezawa.
In October 2014, Houston was featured in The Provost's Writers' Series at the University of Southern California that included readings from her work and a conversation led by the scholar and historian Dr. Nayan B. Shah. In 2016, Houston was named a Distinguished Professor of the University of Southern California.
Houston has been awarded fellowships from Japan Foundation, Rockefeller Foundation (twice), California Arts Council, Aurora Foundation, Sidney F. Brody Foundation, and others; as well as being honored by Sidney Poitier and American Film Institute, the Pinter Review Prize for Drama (Silver Medal), Susan Smith Blackburn Prize (finalist), Harold and Mimi Steinberg/American Theatre Critics New Play Award (finalist), Women in Theatre’s Red Carpet Award, East West Players’ Made In America Visionary Award, Loving Prize (Mixed Roots Film & Literary Festival, New York Foundation for Arts), Los Angeles Women’s Theatre Festival Rainbow Award, and others including the Women’s International Center’s Living Legacy Award and the Lee Melville Award for Outstanding Contributions to Los Angeles Theatre. Tea, With Music was critics' "Pick of the Week" with LA Weekly in 2012. Houston has received grants from the James Zumberge Research and Innovation Fund (thrice), USC Visions and Voices Arts and Humanities Initiative (twice), New Directions in Feminist Research Fellowship, Durfee Foundation, Lila Wallace-Readers’ Digest Foundation/The Wallace Foundation, and others.
Her publications are with Dramatists Play Service, Smith and Kraus, Vintage Books/Random House, Akashi Shoten (Tokyo), Temple University Press, Dramatic Publishing, University of Massachusetts Press, University of Texas Press, Murasaki Books, Alexander Street Press, Applause Books, Routledge, and others. She has written journalistically for the Los Angeles Times, American Theatre, The Rafu Shimpo, Pacific Citizen, The Dramatist, and the Kansas City Star. Houston has written for film and television including for Columbia Pictures, PBS, and several independent producers. She co-produced the documentary Desert Dreamers with narration by Peter Fonda and served as Multicultural Consultant for Walt Disney Productions for Hayao Miyazaki’s film Kiki’s Delivery Service. Currently, she penned the screenplay for and co-produced a live-action film short about the legendary 11th Century Japanese poetess Ono no Komachi, Path of Dreams, Producer, Eleven Arts Inc. and True Heart Films in association with Minx Pictures; producer/Director Tamara Ruppart. She also is developing a documentary film with Director Ruppart and Producer Monique Yamaguchi, Rising Soul, about multiethnic Japanese of African descent. At numerous festivals, Path of Dreams has received honors such as best short, directors' choice, and best cinematography.
Houston served as a Commissioner on the US Department of State's US-Japan Conference on Cultural and Educational Interchange, Japan-US Friendship Commission, and Japan-US Bridging Foundation for six years (2007-2013), federal agencies of the US Department of State. She served as Research Advisor for Contemporary British, Irish, and American Poetic Drama and Theatre, Aoyama Gakuin University, Tokyo, Japan, for two years. She is an Associate Artist of Playwrights’ Arena, Los Angeles, and a member of Dramatists’ Guild, Writers Guild of America-West, League of Professional Theatre Women, and the Alliance of Los Angeles Playwrights. She supports the Los Angeles Female Playwrights’ Initiative. She serves on the Editorial Board of the Journal of Critical Mixed Race Studies and is on the Advisory Board of Multiracial Americans of Southern California.
Director and Professor Dr. Peggy Shannon wrote in Houston's collection of plays, "The interesting parallels between Houston’s life and that of visual artist and architect Isamu Noguchi, who also is of mixed race Japanese and American parentage, are raised. Like Noguchi, in the arts Houston finds expression that is truly without borders. The former Honorable Consul General of Japan of Los Angeles Kazuo Kodama observed the parallels between the artists’ lives, paralleling Houston’s work in drama to the work of Noguchi in fine art. Of Houston’s work, Kodama remarked that she has a 'unique lens… as a Japanese American of mixed parentage' that is 'an asset to Japan-U.S. relations at all levels' because 'people can come to see a connection between our two nations that not only exists in documents and organizations, but which is a living, organic relationship, exemplified by and embodied in individuals like… [Houston].'”
On the personal front, Velina Hasu Houston is of Japanese, Blackfoot Pikuni Native American Indian, African American, and Cuban heritage with historical ties to India and China. Her multicultural family includes these ethnicities as well as Hawaiian, English, German, and Scottish ethnicities. She was born on a military ship on international waters enroute from Japan to the United States; her birth is registered at the first post-occupation U.S. base at which her father was assigned. She is the second daughter of a native of Matsuyama (Japan) and a native of Alabama. She has one sister, Dr. H. Rika Houston, and one brother, George Adam Houston. Houston was reared in Junction City, Kansas, a small town adjacent to Fort Riley, a once-thriving Army installation. The town and fort have been chronicled by the BBC, Mainichi Hoso, and The New York Times. The community in which she was reared consisted of approximately 700 immigrant Japanese women, their American husbands of various ethnicities, and their multicultural mixed ethnicity children. The community also included immigrant European women who had married Americans after World War II [Germans, Austrians, British, Spanish, French, and Italians; hence Houston's global education in the kitchens and hearts of immigrant women from around the world]. Houston remained in Kansas for her undergraduate studies to aid her widowed mother. When her mother remarried, Houston moved to California to attend graduate school at UCLA and then at USC. She is married to Peter H. Jones of Manchester, England. She has two biological children. She resides in Los Angeles. Raised with Shintoism and Buddhism, she practices a polytheistic faith. She is an animal lover, and has four pets: two dogs (Shiba Inu) and two cats.
At the University of Southern California School of Dramatic Arts she is Distinguished Professor, Resident Playwright, creator and Director of the Master of Fine Arts in Dramatic Writing, and Head of Undergraduate Playwriting. She came to USC officially in 1991 to lead the graduate program that she had designed the previous year. She was one of six faculty (and the only female) chosen to serve on the USC Presidential Search Advisory Committee that selected USC’s eleventh president. She is the first person of African descent and the first multiethnic person to be named as a Distinguished Professor at USC. She served seven years on the University Committee for Appointments, Promotion, and Tenure; two of those years as Chair of its arts and humanities panel. In the past, she has served on the faculties of the University of California at Los Angeles (screenwriting master class) and Kyoto’s Doshisha University (Visiting International Faculty); and been invited as a guest artist or to teach master writing workshops at several universities across the US and in Japan. She has served as an evaluator for the National Endowment for the Arts, the Joyce Foundation, and Oregon Literary Fellowships. Her works are archived in The Library of Congress, Washington DC (Curator: Ms. Reme Grefalda) and in The Huntington Library, Art Collections, and Botanical Gardens, San Marino, California (Curator: Ms. Sara Sue Hodson). A smaller collection of her work exists at the University of California, Santa Barbara; and in New World Theatre's Asian American Theater Collection at the University of Massachusetts at Amherst. At USC, she is an Associated Faculty Member of the USC Shinso Ito Center for Japanese Religions and Culture; and on the Affiliated Faculties of East Asian Studies and American Studies & Ethnicity. She serves as Faculty Sponsor for the student organization HapaSC, which she founded in 1991. She is a co-founder of the study of Asian American culture at USC, having helped to create the first Asian American curriculum there in 1992.
Houston is featured as one of nine world-class faculty in the University of Southern California's "Meet USC" brochure and also is featured in the University's admissions film shown to prospective students.
Theatre Agent: Mr. Bruce Ostler, Bret Adams Ltd., 448 West 44th Street, New York, NY 10036, (212) 765-5630, firstname.lastname@example.org. Entertainment Attorney: Michael C. Donaldson, Donaldson & Callif, 400 South Beverly Drive, Suite 400, Beverly Hills, California 90212, (310) 277-8394.
Ichigo ichie... each encounter in life happens only once.