"Real life... it always demands an original response." -- from Velina Hasu Houston's "The Peculiar and Sudden Nearness of the Moon"   P R O D U C T I O N S / P U B L I C A T I O N S C O M M I S S I O N S P R O D U C T I O N S P R E S E N T A T I O N S F I L M & T E L E V I S I O N L E C T U R E S A F F I L I A T I O N S Commissions 2007-2010 Silk Road Theatre Project, The DNA Trail, Initiated 2007 (with David Henry Hwang, Elizabeth Wong, Philip Kan Gotanda, Shishir Kurup, Lina Patel, Yussef El Guindi, Jamil Khoury) 2006-2007 Mixed Blood Theatre Company, “Messy Utopia,” a collaborative theatre project with Naomi Iizuka, Aldo Velasco, Aditi Kapil, and Seema Sueko. Houston’s play within the collaborative project is "Bloody Hell (Or) I Wouldn't Change A Thing About You." Liz Engelman, Dramaturge. 2004 American Repertory Dance Company, “Dreams,” Structuring of collage of works by Langston Hughes, Hu Shih and Shushanig Gourghinhain, and Los Angeles students. 2002 Sacramento Theatre Company, “Something to Say,” Kids Write Plays/The American Dream Project 2001 Sacramento Theatre Company, “Free Verse,” Kids Write Plays/The American Dream Project 2001 Sacramento Theatre Company, “Amazing Grace, ” The Millennium Monologues 1998 The Jewish Women’s Theatre Project, “The Lotus of the Sublime Pond” 1997 The Mark Taper Forum, “Tell Her That You Saw Me” 1996 Lila Wallace-Readers Digest Foundation New Generations Play Project/ Honolulu Theatre for Youth, “Hula Heart” 1996 The State Foundation on Culture and the Arts of the State of Hawai’I, Kennedy Theatre, “Cultivated Lives” 1994 Asia Society, “Japanese and Multicultural at the Turn-of-the-Century,” National Public Radio Broadcast 1993 Cornerstone Theatre Company, “Snowing Fire” 1988 Manhattan Theatre Club, “Broken English” (aka “The Melting Plot”) 1985 The Mark Taper Forum, “The Legend of Bobbi Chicago” The Plays New Plays in Development The DNA Trail (Commission, Silk Road Theater Project) The Last Resort A Spot of Bother Calligraphy Eight Months The Nature of the Beast Disenchanted Christmas She Don’t Eat Sushi The Eyes of Bones Cinnamon Girl The Tongues of Men and Angels Full-lenth Plays Calling Aphrodite Presentation, Tokyo Engeki Ensemble, Tokyo, August 2008, Translation by Mariko Hori Tanaka World Premiere, International City Theatre, 2007, Director: Shashin Desai Staged Reading, International City Theatre, February 2007, Director: Shashin Desai Staged Reading, International City Theatre, April 2007, Director: Shashin Desai Staged Reading, International City Theatre, 2006, Director: Rena Heinrich Staged Reading, John Anson Ford Amphitheatre, 2006, Director: Rena Heinrich Workshop and Staged Reading, Pittsburgh Public Theatre, 2005, Director: Pamela Berlin Staged Reading, Women Warrior Fest., Silk Road Theatre Project, 2005, Dir.: Jamil Khoury Staged Reading, Loyola Marymount University, 2003, Director: Sean Metzger Staged Reading, Scene Dock Theatre, Los Angeles, 2003, Director: Brian Nelson Staged Reading, Village Gate Theatre, Los Angeles, 2002, Director: Brian Nelson Staged Reading, Scene Dock Theatre, Los Angeles, 2001, Director: Giacomo Ghiazza Staged reading, Global Address Festival, Los Angeles, 2002, Director: Brian Nelson. The Peculiar and Sudden Nearness of the Moon World Premiere, Sacramento Theatre Company, 2006-2007, Director: Peggy Shannon Staged Reading, Duke University, 2004, Director: Sean Metzger Staged Reading, African American-Latino Playwrights’ Fest., 2004, Dir.: Stephen Gerald Staged Reading, Black Dahlia Theatre, Los Angeles, 2004, Director: Scott Horstein Staged Reading, New Power Plays Fest., West Coast Ensemble, 2004, Dir.: Scott Horstein The House of Chaos World Premiere, Asian American Repertory Theatre, 2007, Director: Peter Cirino Staged Reading, Asian American Repertory Theatre, 2006, Director: Peter Cirino Bloody Hell (Or) I Wouldn’t Change A Thing About You as part of Messy Utopia World Premiere, Mixed Blood Theatre Company, 2007, Director: Jack Reuler Staged Reading, Mixed Blood Theatre Company, November 2006, Director: Jack Reuler Tea Production, E Phoenix Idealis, New York City, 2008 Production, 20th Anniversary, Pan Asian Repertory Theatre, 2007, Director: Tina Chen Production, University of Central Oklahoma, 2007 Production, CATS, 2007 Production, Kumu Kahua, 2006, Director: Kati Kuroda Production, Kumu Kahua, 2005, State-wide Tour, Director: Kati Kuroda Production, Kumu Kahua Theatre, Honolulu, 2005, Director: Kati Kuroda Production, International City Theatre, 2005, Director: Peggy Shannon Production, Notre Dame Academy, 2005 Production, Christ’s College, Taipei, Taiwan, Republic of China, 2005 Staged Reading, University of Northern Iowa, Cedar Falls, 2004 Production, Silk Road Theatre Company, Chicago, 2004, Director: Jamil Khoury Production, Sacramento Theatre Company, 2003, Director: Peggy Shannon Production, Pittsburgh Public Theatre, 2001, Director: Pamela Berlin Production, The Instant Cafe, Kuala Lumpur, 2001 Production, LaSalle-SIA, Singapore, 2000 Production, Barrington Stage Company, Massachusetts, August, 1999, Dir.: Julianne Boyd Production, Asian Theatre Network, Stanford University, November, 1998 Production, Cornell University, 1998 Production, Hiroshima University, Hiroshima, Japan, 1998 Production, Asian American Repertory Theatre, 1997 Staged Reading, Williams College, 1997 Production, University of Hawai’i at Hilo, 1996 Production, Theatre X, Tokyo, Japan, 1995, Director: Akira Wakabayashi Production, A Contemporary Theatre, Seattle, 1995, Director: Peggy Shannon Production, Nippon Hoso Kai (NHK) Radio, Japan, 1995, Director: Akira Wakabayashi Production, North Carolina Asian Arts Festival, 1995 Production, University of Michigan at Ann Arbor, 1995, Director: Julie Nessen Production, CATS, 1995 Production, Performance Network Theatre, 1995 Production, University of Kansas, 1995 Production, Morgan-Wixson Theatre, 1995, Director: William Wilday Production, Asian Theatre of Hilo, 1995 Production, Agassiz Theatre, Harvard University, 1995 Production, Apple Island Theatre, Madison, Wisconsin, 1994 Production, Amagasaki Piccolo Theatre, Osaka, Japan, 1993, Director: Sakiko Taoka Production, University of North Carolina, 1993 Production, Actors Theatre of San Jose, 1993 Production (Radio), L.A. Theatre Works and National Public Radio (KCRW), 1993 to Present Production, Smithsonian Institute, 1993, Asian Pacific Heritage Month Kick-off Event Production, Horizons Theatre, Washington, D.C., 1993 Production, Georgetown University, Washington, D.C., 1993 Production, Theatre of Yugen, San Francisco, 1992, Director: Yuriko Doi Production, Syracuse Stage, 1991, Director: Julianne Boyd Production, Mount Holyoke College, Massachusetts, 1991 Production, Bishop Museum and Kumu Kahua, "Strength and Diversity" exhibit, 1991 Production, Kumu Kahua, Hawai'i State Tour Production, 1991 Production, Odyssey Theatre Ensemble, 1991 (6-mo. Run), Dir.: Julianne Boyd Staged Reading, Japan America Theatre, Los Angeles, 1990 Staged Reading, University of California at Santa Barbara, 1990 Production, Kumu Kahua, Honolulu, 1990 Production, TheatreWorks, Palo Alto, California, 1990, Director: Yuriko Doi Production, Philadelphia Theatre Company, 1989, Director: Julianne Boyd Production, Whole Theatre, 1989, Director: Julianne Boyd, Producer: Olympia Dukakis Production, Interstate Firehouse Cultural Center, Portland, Oregon, 1988 Production, Old Globe Theatre, San Diego, 1988, Director: Julianne Boyd World Premiere, Manhattan Theatre Club, New York, 1987, Director: Julianne Boyd Staged Reading, Manhattan Theatre Club, New York, 1987, Director: Julianne Boyd Staged Reading, First Stage, Los Angeles, 1987, Director: Gwenn Victor Staged Reading, The Group Theater Company, Seattle, 1986, Director: Ruben Sierra Staged Reading, East West Players, Inc., Los Angeles, 1985, Director: Mako Rockefeller workshop, Asian American Theater Company, 1985, Director: Judith Nihei Ikebana (Living Flowers) World Premiere, The Pasadena Playhouse, Pasadena, 2000, Director: Shirley Jo Finney Staged Reading, Pasadena Playhouse @ Pacific Asia Museum, 2000, Dir.: Shirley Jo Finney Staged Reading, Urban Stages, New York City, October 1999, Director: Juli Thompson Burk Shedding the Tiger Production, Sacramento Theatre Company, 2001, Director: Peggy Shannon Staged Reading, Brava Theatre Center, San Francisco, 1999, Director: Loy Arcenas Created under the auspices of a Japan Foundation Fellowship Waiting for Tadashi World Premiere, George Street Playhouse, January, 2002, Director: David Saint Workshop Production, George Street Playhouse, 2000, Director: Hannah Fujiki DeVorkin Created under the auspices of a Japan Foundation Fellowship Kokoro (True Heart) Production, The Actors Workshop, Boston, 2004 Production, Morgan-Wixson Theatre, 2003, Director: Rena Heinrich Production, Sacramento Theatre Company, 2000, Director: Peggy Shannon Production, Williams College, 2000 Production, Hiroshima University, 1999 Staged Reading, Perseverance Theatre Company, Alaska, 1998 Production, Odyssey Theatre Ensemble, 1996, Director: Jan Lewis Production, The 28th Street Theatre, New York, 1995, Director: Tina Chen Special Presentation, The Japan Society, New York, 1994, Director: Yuriko Doi World Premiere, Theatre of Yugen, San Francisco, Director: Yuriko Doi, 1994 Staged Reading, Theatre of Yugen, 1993, Director: Yuriko Doi Necessities Production, Purple Rose Theatre, Chelsea, Michigan; Producer: Jeff Daniels, 1993 World Premiere, Old Globe Theatre, 1991, Director: Julianne Boyd Workshop and Staged Reading, Old Globe Theatre, 1991, Director: Julianne Boyd Workshop and Staged Reading, Old Globe Theatre, 1990, Director: Julianne Boyd American Dreams Production (Radio), L.A. Theatre Works and National Public Radio-KCRW, 1991, Director: Peggy Shannon World Premiere, Negro Ensemble Company, New York, 1984, Director: Samuel Barton Asa Ga Kimashita (Morning Has Broken) Production, Hiroshima University, 1998 Production, Wesleyan University, 1993 Production, Mount Holyoke College, 1992 Production, State University of New York at Geneseo, 1992 Production, University of Southern California, Massman Theatre, 1991 Production, Kumu Kahua, Honolulu, 1991 Production, Pacific Rim Productions, San Francisco, 1985, Director: David Hillbrand World Premiere, East West Players, Los Angeles, 1984, Director: Mako Production, Studio Theater, UCLA, 1981, Director: David Hillbrand A Spot of Bother Staged Reading, Will Geer Theatricum Botanicum, 2008, Director: Ann-Giselle Spiegler The Eyes of Bones Staged Reading, Will Geer Theatricum Botanicum, 2007, Director: Ann-Giselle Spiegler Staged Reading, Hawai'i International Conference on Arts and Humanities, 2006, Honolulu Thirst World Premiere, Asian American Theater Company, San Francisco, 1986 Staged Reading, The Lee Strasberg Creative Center, Hollywood, 1984 The Ideal and the Life Staged Reading, Scene Dock Theatre, Los Angeles, 2003, Director: Stephanie Shroyer Staged Reading, The Pasadena Playhouse, 2002, Director: Stephanie Shroyer Staged Reading, George Street Playhouse, 2002, Dir.: David Saint, with Olympia Dukakis Staged Reading, Sacramento Theatre Company, 2002, Director: Peggy Shannon Snowing Fire Commission, Cornerstone Theatre Company, 1993 Staged Reading, Massman Theatre, University of Southern California, 1994, Director: Bill Rauch Staged Reading, Cornerstone Theatre Company, 1994, Director: Bill Rauch Cultivated Lives Commission, Kennedy Theatre, University of Hawai'i; and the State Foundation on Culture and the Arts of the State of Hawai’i Production, San Diego Asian American Repertory Theatre, San Diego, 1999 Staged Reading, Asian Traditions-Modern Expressions Fest., 1998, Dir.: Brian Nelson World Premiere, Kennedy Theatre, 1996, Director: Juli Thompson Burk Staged Reading, Fisher Gallery, Los Angeles, 1997 Staged Reading, Kennedy Theatre, 1995, Director: Juli Thompson Burk Staged Reading, Kennedy Theatre, 1994, Director: Juli Thompson Burk My Life A Loaded Gun Staged Reading, Old Globe Theatre, 1989, Director: Julianne Boyd Workshop and Staged Reading, Old Globe Theatre, 1989, Director: Julianne Boyd Workshop and Staged Reading, Old Globe Theatre, 1988, Director: Julianne Boyd The Legend of Bobbi Chicago Commission, The Mark Taper Forum, Los Angeles Musical Play; composer-lyricist, Sandy Alpert Staged Reading, Peggy Feury's Loft, Hollywood, 1989, Director: Patti Yasutake Staged Reading, The Mark Taper Forum, Los Angeles, 1987, Director: Patti Yasutake Albatross Staged reading, Theatre-Theatre, Los Angeles, 1992 Workshop-Staged Readings, Arizona Theatre Company (Tucson), 1991 Workshop-Staged Readings, Arizona Theatre Company (Phoenix), 1991 Workshop and Staged Reading, Old Globe Theatre, 1990, Director: Julianne Boyd Workshop and staged reading, Manhattan Theatre Club, 1989, Director: Julianne Boyd Staged Reading, The Playwrights Theatre, Los Angeles, 1988, Director: Patti Yasutake Staged Reading, The Playwrights Theatre, Director: Velina Hasu Houston, 1988 Kapiolani’s Faith Written under the auspices of a James Zumberge Fellowship Staged Reading, Kumu Kahua Theatre, Honolulu, 1991 Christmas Cake Workshop Production, Kumu Kahua, Honolulu, 1992 Staged Reading, East West Players, Los Angeles, 1991 Tokyo Valentine Staged Reading, East West Players, Los Angeles, 1992, Director: Brian Nelson Broken English (formerly The Melting Plot) Commission, Manhattan Theatre Club, 1988 Workshop and Staged Reading, Odyssey Theatre Ensemble, 1991 Workshop and Staged Reading, Manhattan Theatre Club, 1989 Rain Staged Reading, The Women's Project & Productions, New York, Director: Tina Chen, 1993 As Sometimes in a Dead Man’s Face Staged Reading, East West Players, 1994, Director: Brian Nelson Staged Reading, The Mark Taper Forum, 1994, Director: Peggy Shannon Staged Reading, Circle Repertory Company, 1994 Sentimental Education Staged Reading, Massman Theatre, Los Angeles, 1997, Director: Brian Nelson Staged Reading, Twenty-Fourth Street Theatre, Los Angeles, 1997, Director: Brian Nelson Nobody Like Us World Premiere, Ebony Theatre Company, Manhattan, Kansas, 1979 One-act Plays Hula Heart Commission, Lila Wallace-Readers Digest Foundation, New Generations Play Project, 1994-1996 World Premiere, Honolulu Theatre for Youth, 1996, Director: Peter Brosius Staged Reading, Honolulu Theatre for Youth, February, 1995 Staged Reading, Honolulu Theatre for Youth, August, 1995 Staged Reading, Honolulu Theatre for Youth, 1994 The Matsuyama Mirror Production, Tampines College, 2005 Production, Singapore Youth Festival, Singapore, 2004 Production, University of Montana Western, 2004 World Premiere, Honolulu Theatre for Youth, 1995, Director: Pamela Sterling Staged Reading, Lincoln Center Institute, New York, 1993 Staged Reading, Honolulu Theatre for Youth, 1993 Workshop Production, John F. Kennedy Center New Visions, New Voices, 1993, Director: Brian Nelson Staged Reading, East West Players, Los Angeles, 1993 Workshop Production, University of Southern California, School of Theatre, 1992 Japanese and Multicultural at the Turn-of-the-Century Commission, The Asia Society World Premiere, (Radio), Asia Society-National Public Radio, 1994, Curator: Rachel Cooper Tell Her That You Saw Me Commission, The Mark Taper Forum The Lotus of the Sublime Pond Commissioned by The Jewish Women’s Theatre Project, 1998, as part of “Hair Pieces” World Premiere, Fountain Theatre, Los Angeles, 2001, Director: Jan Lewis Staged Reading, The Jewish Women’s Theatre Project, May, 2000, Director: Jan Lewis Staged Reading, The 24th Street Theater, Los Angeles, September, 1998, Director: Jan Lewis Free Verse Commission, Sacramento Theatre Company World Premiere, Sacramento Theatre Company/ Sacramento School District, 2001, Director: Peggy Shannon Something to Say Commission, Sacramento Theatre Company World Premiere, Sacramento Theatre Company/ Sacramento School District, 2002, Director: Peggy Shannon Amazing Grace Commission, Sacramento Theatre Company World Premiere, as part of “The Millennium Monologues,” 2001, Director: Sheldon Deckelbaum Point of Departure World Premiere, 72 Percent Solution, March, 2001, Director: Hannah Fujiki DeVorkin Amerasian Girls (Two One-Acts on the Amerasian Experience: Father I Must Have Rice and Petals and Thorns) Production, Ensemble Studio Theatre, Los Angeles, 1987, Director: Patti Yasutake World Premiere, Studio Theater, University of California at Los Angeles, 1982, Director: David Hillbrand The Confusion of Tongues World Premiere, St. Augustine's By-the-Sea Episcopal Parish, Director: Susan Mott, 1991 Kumo Kumo Staged Reading, East West Players, Los Angeles, June, 1993, Director: Brian Nelson Switchboard World Premiere, Purple Masque Theatre, Manhattan, Kansas, 1979 PROFESSIONAL FILM AND TELEVISION EXPERIENCE (Work-for-hire) Tea Screenplay based on the play “Tea” by Velina Hasu Houston Desert Dreamers Documentary film with narration by Peter Fonda. Co-producer with Tivoli Entertainment LLC. Writing consultation, supplementary writing. Premiered: PBS, PBS-KQED San Francisco, “Truly California” series, September 2006. Kokoro Feature film screenplay adaptation of my original play for TCJ Productions LLC. Play optioned in 1997, optioned renewed in 1998, 1999. Hothouse Flowers Feature film screenplay for Blue Turtle, Inc., Producer: Youssef Vahabzadeh. Summer Knowledge Feature film screenplay for Producers Sidney Poitier and Cedric Scott, Verdon-Cedric Productions, Columbia Pictures. Kiki’s Delivery Service Consultant, “Kiki’s Delivery Service,” a Hayao Miyazaki film, Disney Studios-Buena Vista Home Video, 1996-1997. Golden Opportunity For "The Puzzle Place," Lancit Media Productions Ltd. and PBS-KCET. The Rest Test For "The Puzzle Place," Lancit Media Productions Ltd. and PBS-KCET. Picture Perfect For "The Puzzle Place," Lancit Media Productions Ltd. and PBS-KCET. True Colors For "The Puzzle Place," Lancit Media Productions Ltd. and PBS-KCET. Leon for President For "The Puzzle Place," Lancit Media Productions Ltd. and PBS-KCET. Hishoku (Not Color) Feature film screenplay for Alternate Currents International, Inc.; Producer: Margaret Smilow. Adapted from critically acclaimed Japanese novel, Hishoku, by Sawako Ariyoshi. Kalito Screenplay for American Film Institute, Director: Mary Jane Eisenberg. American Film Institute screening, 1991. Journey Home Teleplay for PBS-KCET's “Wonder Works,” Producers: Steve Tatsukawa and Phylis Geller, 1984. War Brides Teleplay treatment optioned by Taft Entertainment Company, Los Angeles, 1984. MULTIMEDIA AND INTERDISCIPLINARY PROJECTS "Tangles," an investigation of Alzheimer's Disease, identity, and society; a transmedia arts project, creator: Dr. Marsha Kinder, School of Cinematic Arts, USC. Collaborators include Dr. Helena Chiu, Dr. Margaret Gatz, Dr. Roberta Brinton, Dr. Richard Weinberg, and Peter B. Kaufman. In association with Carol Muske-Dukes, Director, USC Ph.D. in Creative Writing and Literature, developing a Master Class series in the literary arts. LECTURES, PANELS, SYMPOSIA, RESIDENCIES (INVITED) 2008 Houston will be a Guest Speaker at The Japanese Association for Migration Studies (Nihon Imin Gakkai) and Nihon Women's University's conference in Tokyo, August, on "2008 Migration Studies Workshop: Digging up the Migration History of Japanese Women -- The Road of Japanese Picture Brides and Japanese War Brides." 2007 Guest Artist, “Theatre/Language/Vision: Changing the World with Words” featuring Esther K. Chae and Velina Hasu Houston on Asian American femininity and the Asian American voice in drama, Visions and Voices: The USC Arts & Humanities Initiative Guest Artist, Dutton’s Books, Los Angeles, reading from “Choice,” Macadam Cage Books Guest Artist, Skin: Art and Ideas 2007 Arts Festival, Pasadena City College Guest Playwright, “BECAUSE” Women’s Playwriting Workshop, City of Los Angeles Grant Guest Artist, Pasadena City College, “Calling Aphrodite: A Reading and Discussion” Keynote Speaker, Southern California Japanese Chamber of Commerce Visiting Writers’ Series, California Institute for the Arts, Guest Artist. Los Angeles Artist-in-Residence Master Workshop, Guest Artist. 2006 October. Guest Artist, Asian American Repertory Theatre Harvest Moon Festival banquet. February. Guest Speaker, Asian Pacific American Heritage Festival, united Colors of Asian Pacific America, “Multiracial Identity Today.” January. Guest Artist. Hawai’i International Conference on the Arts and Humanities. “Critical Views of The Nature of the Beast: God, Race, and Sex in Japanese America,” Honolulu. 2005 Spring. Guest Artist/Mentor. National Endowment for the Arts Theater Journalism Institute. RedCat Theatre, Los Angeles. January. Guest Artist at the Hawai’i International Conference on Arts and Humanities, “Vision and Paradise: The Eyes of Bones.” March. Guest Speaker for Women’s History Month, Japanese American National Museum, Los Angeles. “Art, Community, and Culture: A Conversation with Velina Hasu Houston.” April. Guest Speaker at NYU Asia-Pacific Institute Asian American Renaissance Symposium, new York. 2004 January. Guest Artist at the Hawai’i International Conference on Arts and Humanities, speaking on “Crisis, Asian Identity Transformation, and Theatrical Articulation.” January. Guest Speaker for the Japanese American Citizens League, Chicago, speaking on Tea. October. Guest Speaker at the annual international conference of the Nikkei International Marriage Society, Honolulu, “Cultural Preservation of the Japanese War Bride Legacy.” November. Guest Artist, Duke University. November. Guest Artist, University of California at San Diego, “The Heroic and Lonely Courage of Japanese Women Encumbered by Myth: Reflections on Kokoro.” 2003 Guest Artist, University of California at San Diego, “A Homecoming for Himiko: Myth and Honor,” November, 2003. Asian American Literature Association, Guest Artist, Tokyo, Japan, September, 2003. Michi and Walter Weglyn Endowed Chair for Multicultural Studies Speaker, Cal Poly Pomona, Pomona, California, November, 2003, “Nikkei Women Playwrights: Circling the Nest and Taking Flight.” L.A. Theatre Works/National Public Radio, Tea and Japanese and American Relations, in conjunction with airing of L.A. Theatre Works’ production of Tea, December 7, 2003. Guest Artist, University of California at San Diego, “Bushi-do Themes in Himiko’s Journey in Tea,” April, 2003. Guest Artist, Loyola Marymount University, Los Angeles, April, 2003. Keynote Speaker, Japanese American Historical Society annual conference, March, 2003. 2002 Guest Speaker and Workshop Facilitator, Association of Multiethnic Americans conference, “Mixed Messages: Multiracial Images in Western Cinema,” October, 2002. Guest Artist, The Pasadena Playhouse, The Writers’ Gallery, A Celebration of Playwrights; with Gary Socol, Kenneth Lonergan, Bruno Kirby, and Jerry Patch. July, 2002. Discussion of new works and presentation of scene from The Ideal and the Life. Guest Artist, Japan America Theatre, “Fire-Tenders,” selected poetry readings and song. April, 2002. Post-play Discussant, USC Arts Initiative Global Address Festival, Transnationalism, Race, and Identity: A Theatrical and Critical Investigation, a collaborative effort of Velina Hasu Houston and Dorinne Kondo involving Houston’s play “Calling Aphrodite” and Kondo’s play “Seamless.” April, 2002. Guest Reader, Saint Augustine’s By-the-Sea Episcopal Parish, Santa Monica, Great Vigil of Easter, 2002. Guest Speaker, “Representations of the Multiracial Child in Popular Culture,” Association of Multiethnic Americans’ Multiracial Child Conference, Arizona, October, 2002. Guest Speaker, “The Japanese Female Adolescent in World War II, The Hiroshima Maidens Project, and Calling Aphrodite,” Jeffrey Matracia’s World History class, Santa Monica High School, 2002. 2001 Keynote Panelist, Hapa Issues Forum National Conference, Opening Panel: The History of Hapa Identity and Community Organization in the United States, November, 2001. Guest Reader, Saint Augustine’s By-the-Sea Episcopal Parish, Santa Monica, 2001. Guest Speaker, Lincoln Center Theatre’s Directors’ Lab, 2001. Lecturer, Hapa Issues Forum National Conference, “The Mythology of Multiracial Identity in Western Cinema: Imitation of Life and Rising Sun,” November, 2001. Guest Panelist, Marlborough School, Gender Challenges for Women in Career Pursuits, October, 2001. Guest Lecturer, University of Southern California, Asian Pacific American Student Services Critical Issues in Race and Cultural Leadership Education Symposium, October, 2001. Moderator, University of Southern California, Hapa USC, “Guess Who’s Coming to Dinner: Interracial Relationship Forum,” September, 2001. Guest Artists, Saint Augustine’s By-the-Sea Episcopal Parish, Raise the Roof, September, 2001. Guest Poet, Inspiration House, KPFK Radio, July, 2001. Guest Speaker, Pittsburgh Public Theatre, March, 2001. Guest Speaker, Prologue Series, Sacramento Theatre Company, March, 2001. Guest Speaker and Visiting Artist, Saint Mary’s College, Moraga, California, January, 2001. 2000 Distinguished Writer, USC Provost’s World Class Right at Home Distinguished Writers Series, “Velina Hasu Houston: Reading From Her Plays and Poetry,” November, 200. Symposium Panelist, Facing the Critic, National Repertory Theatre Foundation and the University of Southern California, November, 2000. Guest Speaker, University of California at Davis, Asian American Studies and Theater; October, 2000. Panelist, Japanese American National Museum, “Japanese International Brides: History, Culture, and Legacy; August, 2000. Guest Poet, World Beyond International Poetry Festival, Los Angeles, July, 2000. Guest Speaker, University of Southern California, HAPA USC, April, 2000. Guest Author, Department of Theater; School of Theater, Film, and Television, University of California at Los Angeles, 1999. Panelist, Asian Pacific American Issues Conference: Building Our CommUniversity, Asian Pacific American Heritage Festival, Los Angeles, April, 2000. Guest Author, Sacramento Theatre Company’s Writers’ Series, January, 2000. 1999 Guest Author, Department of Theater, School of Theater, Film, and Television; University of California at Los Angeles, 1999. Keynote Speaker, Nikkei International Marriage Society National Conference, Torrance, California, October, 1999. Guest Author, The Mark Taper Forum, Writers on Writing Series, Los Angeles, May, 1999. Guest Author, Oberlin College Asian American Writers Series, Oberlin, Ohio, May, 1999. Guest Author, Kansas State University, Manhattan, Kansas, April, 1999. Guest Speaker, Department of Speech and Theatre, Kansas State University, Manhattan, Kansas, April, 1999. Guest Lecturer, Department of English, Kansas State University, Manhattan, Kansas, April, 1999. Keynote Speaker, Asian Pacific Islander Inland Valley Leadership Conference, Pasadena, California, February, 1999. 1998 Keynote Panelist, “Toward a Multiethnic Millennium: Hapas and the Asian American Community in the 21st Century,” Hapa Issues Forum Conference, Northridge, California, 1998. Panelist, “Finding an Artistic Home: Issues of Acceptance and Censorship by our Own Institutions,” New Works for a New World: An Intersection of Performance, practice, and Ideas Theater Conference and Festival, New World Theatre, Amherst, Massachusetts, October, 1998. Guest Speaker, Orange County Women's Literary Guild Conference, June, 1998. Guest Artist, Emerson Writers' Series, May, 1998. Guest Poet, Asian Traditions-Modern Expressions Festival, April, 1998. 1997 Guest Poet, Los Angeles County Arts Open House, Los Angeles County Arts Commission, at the Craft and Folk Art Museum, October, 1997. Guest Poet, Midnight Special Books and dIsORIENT journalzine, August, 1997. 1996 Guest Poet, The Fisher Gallery, University of Southern California, April, 1996. Guest Playwriting Mentor, Audrey Skirball-Kenis Theatre, April, 1996. Guest Playwriting Mentor, University of Hawai’i at Manoa, March, 1996. 1995 Featured Artist, salon featuring my work, The Mark Taper Forum’s Asian Theatre Workshop Lounge Series, December, 1995. Panelist, The Mark Taper Forum’s Asian Theatre Workshop’s panel on Asian Women in Theater Art, November, 1995. Guest Panelist, Japanese American National Museum, regarding Regge Life’s film “Doubles: Japan and America’s Intercultural Children,” October, 1995. Co-sponsor, Japan America Society screening of Regge Life’s film “Doubles: Japan and America’s Intercultural Children,” October, 1995. Judge, The Gypsy Road Company’s 21st Century Playwrights’ Spring Festival, Harold Clurman Theatre, New York; one of six judges including Edward Albee, Michael Cristofer, Tom Dulack, Maria Irene Fornes and Mac Wellman. Consultant, Access Theatre’s Young Playwrights’ Program, Santa Barbara, 1994-1995. Guest Poet, Borders Bookstores, West Los Angeles, July, 1995. Guest Artist, Japanese American National Museum, June, 1995. Guest Lecturer, University of Kansas, March, 1995. Guest Lecturer, Women Writers' Series, Tokyo, February, 1995. Guest Lecturer, The Japan Foundation and the Tokyo Metropolitan Culture Foundation, Tokyo, February, 1995. 1994 Guest Lecturer, University of Hawai'i, Department of Theatre and Dance, September, 1994. Speaker, Women and Feminism in Literature Symposia, East-West Center, University of Hawai'i, September, 1994. Guest Artist, Japanese American National Museum, Japanese Folklore and Legends, April, 1994. Keynote Speaker, Phi Beta Kappa Regional Banquet, Kansas State University, April, 1994. Guest Speaker, KCRW-National Public Radio's "Which Way L.A." Program, March, 1994. Speaker, The Colored Museum Project: Multiculturalism and Theater in the 21st Century, University of Michigan at Ann Arbor, February, 1994. 1993 Guest Lecturer, Japanese American National Museum, "Multiracial Asian Identity," October, 1993. Guest Speaker, Asian American Studies Program, University of California at Los Angeles, "History of Asian American Women: the Japanese Shin-Issei International Bride in Kansas," June, 1993. Keynote Speaker, Office of the Mayor, City of Los Angeles, Asian-Pacific American Heritage Month Banquet, Bonaventure Hotel, "The Challenges of Diversity for the Asian American Community," May, 1993. Guest Speaker, Humanities Research Institute, University of California at Irvine, "Identity, Arts, and Activism," May, 1993. Panelist, "Mixed Blood 2," Midnight Special Books Cultural Center, May, 1993. Guest Panelist, Asian-Pacific Alumni Association of U.C.L.A., "Asian American Careers: The Asian American as Artist," University of California at Los Angeles, May, 1993. Guest Panelist, Cross-Genre Writers: Theater, Film, and Television; University of California at Los Angeles; sponsored by School of Theater, Film, and Television, April, 1993. Guest Speaker, Asian American Studies Program, University of California at Santa Barbara, "Amerasian Identity and the Asian American Community," April, 1993. Guest Lecturer, University of Colorado at Denver, "The Voice of the Japanese 'Shin-Issei' and Amerasian in Dramatic Literature," March, 1993. Guest Poet, Japanese American National Museum, International Women's Month reading sponsored by Pacific Asian American Women Writers -- West, Los Angeles, March, 1993. Guest Artist, University of Southern California, Program for the Study of Women and Men in Society, International Women's Month reading, Los Angeles, March, 1993. Guest Artist, University of California at Los Angeles, "Asian American Feminist Dramatic Literature," School of Theater, Film, and Television; Department of Theater, February, 1993. Guest Poet, Midnight Special Books Cultural Center, Santa Monica, “Matters of Color”, February, 1993. Guest Speaker, University of Michigan at Ann Arbor, Department of Theatre and Dance, “Issues of Color and Gender in American Theater,” January, 1993. 1992 Guest Panelist, Asian Pacific Women’s Network National Conference, “The Superwoman Myth in Asian America,” October, 1992. Guest Speaker (Opening Address to Playwrights, Artistic Directors, Producers, Dramaturgs, and Literary Managers), Audrey Skirball-Kenis Theatre’s “Inventing the Future” National Playwrights’ Conference, Los Angeles, September 19-20, 1992. Co-Chair (with Pulitzer Prize playwright Robert Schenkkan) of the Sociopolitical Agenda Committee, Audrey Skirball-Kenis Theatre’s “Inventing the Future” National Playwrights’ Conference, Los Angeles, September 20, 1992. Guest Lecturer, University of California at Los Angeles, “The Amerasian Identity and the Asian American Experience,” July, 1992. Chairperson and Discussant, Ninth Annual National Conference of the Association of Asian American Studies, San Jose, June, 1992. Panel: “Interracial Marriages in Asian America.” Guest Lecturer, Theatre of Yugen, “Asian American Interracial and International Marriage,” San Francisco, June, 1992. Guest Lecturer, University of California at Los Angeles, “Multicultural Heritage and Feminism in the Theatre and Film Art,” June, 1992. Guest Lecturer, University of California at Santa Barbara, “The Amerasian Experience,” June, 1992. Guest Lecturer, California State University - Northridge, “Multicultural Heritage and Feminism in the Theatre and Film Art,” May, 1992. Keynote Speaker, Kansas State University Ethnic Studies Banquet, “Diversity and Multiculturalism in American Theatre and Cinema,” April, 1992. Guest Artist-Lecturer, University of Wisconsin at Madison, “Diversity and Multiculturalism in the American Theatre,” April, 1992. 1991 Judge, Association of Asian Pacific American Artists and Pacific Citizen Short Story Contest, December, 1991. Guest Poet, The Harmony Celebration, The Amerasian League, November, 1991. Lecturer, “The Interpretation of the Feminine Shin-Issei Experience in ‘Tea’,” Syracuse University-Syracuse Stage, October, 1991. Guest Poet, “Kaleidoscope,” 1991 Conference of Multiracial Americans of Southern California, Los Angeles, October, 1991. Guest Poet, Asian Pacific American Cultural Festival, Treasure in the House, Los Angeles, August, 1991. Panelist, “Unbroken Thread: Asian American Women in the American Theater,” Association for Theater in Higher Education national conference, August, 1991. Panelist, Eighth Annual National Conference of the Association of Asian American Studies, Honolulu, June, 1991. Paper presented: “Amerasians in Dramatic and Cinematic Literature.” Chairperson and Discussant, Eighth Annual National Conference of the Association of Asian American Studies, Honolulu, June, 1991. Panel: “Multiracial and Multicultural Asians in the Asian American Community.” Lecturer, University of California at Los Angeles; School of Theater, Film & Television, U.C.L.A. Graduate Colloquium in Theater; “Views on the American Theatre,” May, 1991. Guest Speaker, “The Legacy of Amerasians and the Amerasian Diaspora,” Interaction Amerasian Resettlement Conference, May, 1991, Los Angeles. Guest Speaker, Asian American Cultural Transformations literature conference, “A Female of Color in the American Theater,” critique by Dr. Shirley Geok-lin Lim, University of California at Santa Barbara, April, 1991. Lecturer, University of California at Los Angeles, Department of History, History and Literature Colloquium, “The Shin-Issei and Amerasian in Dramatic Literature,” March, 1991. Guest Poet, Beyond Baroque Foundation, “Velina Hasu Houston & The Amerasian Voice,” March, 1991. Guest Panelist, Ethics in the Film Business, Independent Feature Project-West, March, 1991. Guest Poet, “Up in Arms,” by The Amerasian League, February, 1991. Guest Poet, East West Players and Pacific Asian American Women Writers -- West, February, 1991. 1990 Lecturer, Japanese American Citizens League and The Amerasian League, “Amerasian and Asian American Feminist Experience in Theater Art,” December, 1990. Guest Poet, Pacific Asian American Women Writers -- West, Los Angeles, August, 1990. Guest Lecturer, Japanese American Cultural & Community Center, “Asian American Feminist Dramatic Literature,” August, 1990. Guest Panelist, National African American Journalists Association National Convention, Los Angeles, “Multiracial Identity,” August, 1990. Dramaturg, Arizona State Theatre Conference, Phoenix, June, 1990. Guest Playwright, Seventh Annual National Conference of the Association of Asian American Studies, Santa Barbara, California, May, 1990. Guest Lecturer, New York Chinatown History Project, “Asian American and African American Relations,” May, 1990. Guest Lecturer, Queens College, New York University, “Multiracial Identity in the Asian American Community,” May, 1990. Guest Poet and Playwright, Word of Mouth, Inc., New York, May, 1990. Guest Playwright and Poet, Pitzer College, April, 1990. Guest Lecturer, University of California at Los Angeles, World Arts and Culture Program, “Amerasian Identity, Asian American Theater, and Feminist Expression,” March, 1990. Guest Lecturer and Poet, Japanese American Citizens' League, West L.A. Chapter, “Asian American Feminist Experience in the Theater Art,” February, 1990. Guest Lecturer and Poet, University of Hawai’i, “Asian and African American Experience as Depicted in Drama,” January, 1990. 1989 Guest Panelist, Women in Theatre Symposium, Los Angeles, “Theater Art from an Amerasian Perspective,” November, 1989. Guest Lecturer, University of California at Los Angeles, Department of African American Studies, “Multiracial Identity of Amerasians,” November, 1989. Guest Artist, Multiracial Americans of Southern California, Annual Conference, October, 1989. Guest Poet, Sixth Annual Conference of the Asian American Studies Association, New York, June, 1989. Guest Panelist, Sixth Annual Conference of the Asian American Studies Association, New York, “Multiracial Identity in the Asian American Community,” June, 1989. Guest Poet and Panelist, Multiracial Americans of Southern California, Culver City, California; “Amerasian Culture and Identity,” June, 1989. Guest Lecturer and Poet, University of California at Los Angeles, Department of African American Studies, “Interracial Marriages between Native Japanese and African Americans,” May, 1989. Guest Lecturer, Union of Pan Asian Communities, San Diego, “Tracing Asian American Heritage in Dramatic Literature,” May, 1989. Guest Poet, Poetry Connexion, KPFK Radio, Los Angeles, May, 1989. Guest Poet, Asian Pacific Heritage Week, California State University at Northridge, April, 1989. Guest Panelist, Los Angeles Theatre Center, “Theatre in the Twenty-first Century,” February, 1989. Guest Lecturer and Poet, Graduate Colloquium, University of California at Los Angeles, January, 1989. 1988 Guest Lecturer, Japanese American Citizens' League, Southern California American Nikkei Chapter, “Theater Arts from an Amerasian Perspective,” December, 1988. Guest Lecturer, Pitzer College, Claremont, California, “The Multicultural, Multiracial Experience in Theater Arts,” November, 1988. Guest Panelist, Japanese American Citizens' League, San Fernando Valley Chapter, “Interracial Marriage and Biracial Identity,” November, 1988. Guest Lecturer, University of California at Riverside, “Playwriting,” June, 1988. Guest Poet and Lecturer, Luther College, Decorah, Iowa, “Playwriting and Asian American Theater,” April, 1988. Guest Poet-in-residence, Junction City High School, Junction City, Kansas, May, 1988. Guest Poet, Nichols Theatre, Kansas State University, Manhattan, Kansas, May, 1988. Guest Poet and Lecturer, University of California at Los Angeles, Department of Asian American Studies, “Amerasian Identity and the Amerasian Voice in Literature,” May, 1988. Guest Poet and Panelist, “Asian Americans in the Performing Arts,” Pomona College, Claremont, California, February, 1988. 1987 Guest Lecturer and Poet-in-residence, Kansas State University, “Autobiographical Examination in Dramatic Literature,” April, 1987. 1985 Guest Lecturer, Japan Afro-American Friendship Association, Tokyo, Japan, “Afro-Asian Identity Among Amerasians and the African-Asian American Experience,” August, 1985. Guest Lecturer, University of California at Berkeley, Department of Ethnic Studies, “Multiracial Identity and Amerasians,” April, 1985. Guest Lecturer, International Institute of the East Bay, Himawari Kai Japanese Newcomers Organization, Oakland, California; “Amerasian Identity and the Asian American Literary Voice,” September, 1985. Guest Lecturer, Japanese American Citizens' League, Southeast Los Angeles Chapter; “Interracial Marriage in the Asian American Community and Amerasian Identity,” October, 1985. Guest Lecturer, University of California at Los Angeles, “The Development of ‘Asa Ga Kimashita’,” March, 1985. 1984 Guest Lecturer, Washington State University at Pullman, “Asian American Theater,” March, 1984. Guest Lecturer, Whitman College, Walla Walla, Washington; “Asian American Theater,” March, 1984. MISCELLANEOUS APPOINTMENTS Commissioner, US Department of State’s US-Japan Conference on Cultural Exchange binational advisory board; Japan-US Friendship Commission, and US-Japan Bridging Foundation, 2007-Present. PEN Rosenthal Emerging Voices Mentor, 2003-2005: for Taylur Nguyen, Vietnamese American poet. In poetry. AFFILIATIONS Writers Guild of America, west Dramatists Guild, Inc. Alliance of Los Angeles Playwrights Sacramento Theatre Company, Associate Artist Asian American Theatre Company, San Francisco, Board of Advisors Asian American Repertory Theatre, San Diego, Board of Advisors, 1989-2001 Japanese American Cultural and Community Center Venice Japanese Community Center Japanese American National Museum Hapa Issues Forum University of California at Los Angeles Alumni Association Multiracial Americans of Southern California Phi Beta Kappa Phi Beta Delta Honor Society of International Scholars Saint Augustine’s By-the-Sea Episcopal Parish Mark Taper Forum Mentor Playwrights Project (now defunct) PUBLICATIONS The Myth Strikes Back:  Medea Plays by Women, co-edited with Dr. Marianne McDonald, Smith and Kraus Publishers, Inc., 2009. “Writer’s Block” Busters: 101 Exercises to Clear Out the Dead Wood and Make Room for Flights of Fancy, Smith and Kraus Publishers, Inc., 2008. Essay, “Matters of the Heart: To Be A Dragonslayer,” in Choice: True Stories of Birth, Contraception, Infertility, Adoption, Single Parenthood, and Abortion, Edited by Karen Bender and Nina de Gramont, MacAdam/ Cage Publishing Inc., October 2007. American Theatre, October 2007, Season Preview 2007-08 The Asian American Canon, Edited by Velina Hasu Houston, anthology in progress. Playwright’s Notes, Sacramento Theatre Company, 2006, Program for The Peculiar and Sudden Nearness of the Moon Out of the Margins: A national theatre conference in Los Angeles galvanizes Asian-American forces, American Theatre magazine, October 2006, article. The Myth Strikes Back: Medea Plays By Women, Co-Editors Velina Hasu Houston and Marianne McDonald, 2006, anthology under consideration. There Goes the Neighborhood: Society’s Mixed Race & Cinema’s Racial Mythology, non-fiction book, in progress. Play, Tea, Dramatists Play Service, 2006. Green Tea Girl in Orange Pekoe Country: Selected Plays of Velina Hasu Houston, Edited by Peggy Shannon, in progress. “The House of Chaos” (play) in The Myth Strikes Back: Medea Plays By Women, Co-Editors Velina Hasu Houston and Marianne McDonald, 2006. The Peculiar and Sudden Nearness of the Moon (play) in New Power Plays, Co- Editors Paula Cizmar and Laura Shamas, in progress. Ritsumeikan Daigaku Faculty of Law Journal, Kyoto, Japan, Essay, The Ties That Bind: The Honor of Friendship, March 2005. Alexander Street Press, Tea, Kokoro, Asa Ga Kimashita, American Dreams, Necessities, The Ideal and the Life, Waiting for Tadashi, Calling Aphrodite, The Ma tsuyama Mirror, Hula Heart, Ikebana, and The Peculiar and Sudden Nearness of the Moon. Initiated 2005; ongoing. Perishable Theatre Anthology of Women’s Plays 2004-2005, Critical Essay Response regarding J.C. Samuels’ How High the Moon? The Peculiar and Sudden Nearness of… Color (Do You Have a Race and Do You Know What It Really Is?) Notes on My Play The Peculiar and Sudden Nearness of the Moon, www.newpowerplays.com, 2004 Playwright’s Notes, Sacramento Theatre Company, 2003, Program for Tea "Multirace and the Future” an essay in The Multiracial Child Sourcebook. Edited by Matt Kelley and Maria P.P. Root, 2003. Notes from a Cosmopolite (essay) in The Color of Theater: A Critical Sourcebook in Race and Performance. Edited by Roberta Uno with Lucy San Pablo Burns. Continuum International Publishing, 2002. Playwright’s Notes, George Street Playhouse, January, 2002, Program for Waiting for Tadashi Kokoro (True Heart) (play) in Political Plays of the 1990s. Edited by Allan Havis. University of Illinois Press, 2002. Playwright’s Notes, Pittsburgh Public Theatre, 2001, Program for Tea Playwright’s Notes, Sacramento Theatre Company, 2001, Program for Shedding the Tiger The Soprano’s Father and Green Tea Girl in Orange Pekoe Country (poetry), Intersecting Circles: Voices of Hapa Women in Poetry and Prose, Edited by Marie Hara and Nora Okja Keller Cobb, Bamboo Ridge Press, 2000. Playwright’s Notes, The Pasadena Playhouse, 2000, Program for Ikebana (Living Flowers) This Is the Key (play), “Mister Los Angeles” (play), and playwriting essay in Playwriting Master Class, Edited by Michael Wright, Heinemann Publishing, 2000. Playwright’s Notes, Sacramento Theatre Company, 2000, Program for Kokoro (True Heart) Tea (play) excerpt, Monologues for Women of Color. Edited by Roberta Uno. Routledge, 2000. Tea (play) excerpt and essay in Yellow Light: the Flowering of Asian American Arts, Edited by Amy Ling, Ph.D., Temple University Press, 1999, in the series Asian American History and Culture, edited by Sucheng Chan, David Palumbo-Liu, and Michael Omi. Playwright’s Notes, Barrington Stage Company, 1999, Program for Tea Essay in Why We Write: Personal Statements and Photographic Portraits of 25 Top Screenwriters, Edited and Photographed by Lorian Tamara Elbert, Los Angeles: Silman-James Press, 1999. American Dreams (play) excerpted in Encounters: People of Asian Descent in the Americas, Edited by Roshni Rustomji-Kerns with Rajini Srikanth and Leny Mendoza Strobel, Rowman & Littlefield Publishers, Inc., 1999. Foreword of Asian American Culture on Stage: The History of The East West Players by Yuko Kurahashi, Ph.D., Garland Publishing, Inc., A member of the Taylor & Francis Group, as part of the series, Asian Americans: Reconceptualizing Culture, History, Politics, Edited by Franklin Ng, 1999. Hula Heart (play) in Eight Plays for Children: The New Generation Project. Edited by Coleman A. Jennings. University of Texas Press, 1999. Tea (play), ALIVE & ALOUD: Radio Plays, L.A. Theatre Works Audio Theatre Series, 1999. Playwright’s Notes, San Diego Asian American Repertory Theatre, 1999, Program for Cultivated Lives Green Tea Girl: Meditations on Tea and Culture (essay) Pacific Citizen, Holiday Issue, 1998. One Eighth, One Quarter, One Half: A Roundtable Discussion by Multiethnic Asians Lisa See, Aimee Liu and Velina Hasu Houston, Yolk Magazine, 1998. Uphill Fight for Asian American Plays, Counterpunch Op-ed, Calendar section, Los Angeles Times, September 15, 1997, pp. F1-F3. But Still, Like Air, I’ll Rise: New Asian American Plays. Edited by Velina Hasu Houston with an introduction and commentaries by Velina Hasu Houston. Foreword by Roberta Uno. Temple University Press, 1997, in the series Asian American History and Culture, edited by Sucheng Chan, David Palumbo-Liu, and Michael Omi. Playwright’s Notes, San Diego Asian American Repertory Theatre, 1997, Program for Tea No Passing Zone: Aesthetic and Discursive Voices of Multiethnic Asians. Edited by Velina Hasu Houston and Teresa Kay Williams. Amerasia Journal, Special Edition, 1997. As Sometimes in a Dead Man’s Face (play) in Asian American Drama: Nine Plays from the Multiethnic Landscape, edited by Brian Nelson. Applause Theatre Books, 1997. Blood (poem), dIsORIENT journalzine, Volume 5, 1997. Tea (play) in Plays for Actresses. Edited by Eric Lane and Nina Shengold. Vintage Books-Random House, 1997. To the Colonizer Goes the Spoils: Amerasian Progeny in Vietnam War Films and Owning Up to the Gaze (essay), No Passing Zone: Aesthetic and Discursive Voices of Multiethnic Asians. Edited by Velina Hasu Houston and Teresa Kay Williams. Amerasia Journal, Special Edition, 1997. Tea (play) in American Journey: The Asian American Experience, a CD-ROM publication, Primary Resource Media and the University of California at Los Angeles, 1996. Playwright’s Notes, Kennedy Theatre, University of Hawai'i, 1996, Program for Cultivated Lives Home (essay), Homemaking: Women Writers and the Politics and Poetics of Home, Garland Publishing, Inc., 1996. The Matsuyama Mirror (play) in Short Plays for Young Actors. Edited by Craig Slaight and Jack Sharrar. A Smith and Kraus Book, 1996. The Future of Asian America is Multiethnic Asian, Yolk Magazine, 1996. Playwright’s Notes, Odyssey Theatre Ensemble, 1996, Program for Kokoro (True Heart) Playwright’s Notes, The 28th Street Theatre, New York, 1995, Program for Kokoro (True Heart) Playwright’s Notes, Honolulu Theatre for Youth, 1995, Program for The Matsuyama Mirror Playwright’s Notes, Theatre X, Tokyo, Japan, 1995, Program for Tea Playwright’s Notes, A Contemporary Theatre, Seattle, 1995, Program for Tea Playwright’s Notes,, Morgan-Wixson Theatre, Santa Monica, California, 1995, Program for Tea Special Presentation, The Japan Society, New York, 1994, Program for Kokoro (True Heart) Kokoro: Mind and Heart, East and West, article, Japan Society Newsletter, April, 1994, issue. Dissolving the Half Shadows: Japanese American Women Playwrights, Stephanie Arnold, Making A Spectacle, 1994. Suspended between Two Worlds: Interculturalism and the Rehearsal Process for Horizons Theatre's Production of Velina Hasu Houston's "Tea," Susan Haedicke, Theatre Topics, 1994. Playwright’s Notes, Theatre of Yugen, San Francisco, 1994, Program for Kokoro (True Heart) Playwright’s Notes, Purple Rose Theatre, Chelsea, Michigan; Producer: Jeff Daniels, 1993, Program for Necessities Green Tea Girl in Orange Pekoe Country (poem) in Caffeine, July-August, 1993. Playwright’s Notes, Amagasaki Piccolo Theatre, Osaka, Japan, 1993, Program for Tea Playwright’s Notes, Horizons Theatre, Washington, D.C., 1993, Program for Tea "Multiculturalism and the American Theatre: Out of the Hysteria and into the Realities,” The Dramatists Guild Newsletter, “A Conversation With...” front-page column, February, 1993. "Multiculturalism and the American Theatre: Out of the Hysteria and into the Realities," Inventing the Future, a book of essays from the Audrey Skirball Kenis Theatre’s 1992 playwrights’ conference, February, 1993. Image Ethics, and Social Responsibility, a publication of Independent Feature Project-West, October, 1992, with Houston’s comments excerpted from an October, 1990, panel discussion, of the same title held at Warner Bros. Studio, Burbank, California. The Politics of Life: Four Plays by Asian American Women, Edited by Velina Hasu Houston with an introduction and commentaries by Velina Hasu Houston. Temple University Press, 1992, in the series Asian American History and Culture, edited by Sucheng Chan. This is the first anthology focusing on the dramatic literature of Asian American women. Asa Ga Kimashita (Morning Has Broken) (play) in The Politics of Life: Four Plays by Asian American Women, Edited by Velina Hasu Houston with an introduction and commentaries by Velina Hasu Houston. Temple University Press, 1992, in the series Asian American History and Culture, edited by Sucheng Chan. Playwright’s Notes, Theatre of Yugen, San Francisco, 1992, Program for Tea Tea (play) in Unbroken Thread, the second anthology of Asian American feminist dramatic literature; Editor, Roberta Uno; University of Massachusetts Press, 1993. Playwright’s Notes, Kumu Kahua, Honolulu, 1991, Program for Asa Ga Kimashita (Morning Has Broken) Playwright’s Notes, Old Globe Theatre, 1991, Program for Necessities The Past Meets the Future: A Cultural Essay, Amerasia Journal, 1991. Playwright’s Notes, Syracuse Stage, 1991, Program for Tea Playwright’s Notes, Odyssey Theatre Ensemble, Los Angeles, 1991, Program for Tea Amerasian Girl (poem), in GIDRA 1990, twentieth anniversary issue, 1990. Playwright’s Notes, Kumu Kahua, Honolulu, 1990, Program for Tea Playwright’s Notes, TheatreWorks, Palo Alto, California, 1990, Program for Tea Tea (play), in Plays In Process; Volume Nine, Number Five; Theatre Communications Group, Inc., New York, 1989. Playwright’s Notes, Whole Theatre, 1989, Program for Tea Playwright’s Notes, Old Globe Theatre, San Diego, 1988, Program for Tea Playwright’s Notes, Manhattan Theatre Club, New York, 1987, Program for Tea Amerasian Girl (poem), in Echoes IV; Impressions, Inc., Peace Press, Long Beach, California; 1984. Song of an Ainoko Granddaughter (poem), in Echoes IV; Impressions, Inc., Peace Press, Long Beach, California; 1984. The First Japanese Foreign Male (poem), Poets’ Voices 1984: Social Issues by Contemporary Poets, San Diego Poet’s Press; Editors: Kathleen Iddings, Thomas L. Gayton, Ric Solano, Ron O. Salisbury; San Diego, 1984. The Challenge of Diversity for African Americans and Asian Americans, The Multiracial Asian Times, 1991. Interracial and Multi-ethnic Studies in California College and University Courses, California Sociological Association Newsletter. On Being Mixed Japanese, Pacific Citizen, December 1986. Song of an Ainoko Granddaughter, For My Japanese Grandfather, Amerasian Girl, I Was Japanese Before It Was Cool (four poems) Pacific Citizen, December 1986. Playwright’s Notes, Pacific Rim Productions, San Francisco, 1985, Program for Asa Ga Kimashita (Morning Has Broken) Playwright’s Notes, East West Players, Inc., Los Angeles, 1984, Program for Asa Ga Kimashita (Morning Has Broken) Playwright’s Notes, The Negro Ensemble Company, New York, 1984, Program for American Dreams Rearview (poem) Touchstone, Winter-Spring 1977, page 35. A Selection of Scholarly Writings About Dr. Houston’s Work “Oyako-Shinju (Parent-Child Suicide) in Velina Hasu Houston’s Kokoro (True Heart)” by Masami Usui, Ph.D., Doshisha University. AALA Journal, Asian American Literature Association, Kobe Women’s University, Kobe, Japan, 2000. “Out of the Melting Pot and into the Frontera: Race, Sex, nation, and Home in Velina Hasu Houston’s American Dreams” by Michele Janette, Ph.D., Kansas State University, 1999. “Japan’s Post-War Democratization--Agrarian Reform and Women’s Liberation in Velina Hasu Houston’s Asa Ga Kimashita” by Masami Usui, Ph.D., AALA Journal 5, Asian American Literature Association, Kobe Women’s University, Kobe, Japan, 1998. “‘The People in Between’: Cultural Dislocation in the Plays of Velina Hasu Houston” by Betty Diamond, white paper, University of Wisconsin at Whitewater, 1997. “The Passage to Solidarity: Velina Hasu Houston’s Trilogy” by Yuko Kurahashi, Ph.D., white paper, 1995. “Tatakauonnatachi: Velina H. Houston-no Tea” (Women’s Struggles in Velina H. Houston’s Tea) by Yasuko Kawarazaki, AALA Journal 2, Asian American Literature Association, Kobe Women’s University, Kobe, Japan, 1995. Review of Velina Hasu Houston’s The Politics of Life: Four Plays by Asian American Women, by Ruby Ogawa, Amerasia Journal, University of California at Los Angeles, 1994. “Velina Hasu Houston: A Woman of Dreams and Visions,” by Sharon H. Park, white paper, University of Massachusetts at Amherst, May, 1989. A Selection of Critical and Feature Writings About Dr. Houston’s Work “Something New,” by Marcus Crowder, Sacramento Bee, November 5, 2006. “The Search for Identity: ‘Waiting for Tadashi’ uses memory and an unconventional structure to delve into its characters’ souls,” by Charles Paolino, Home News Tribune, New Brunswick, NJ, January 6, 2002, page D1. Asian American Volume, Encyclopedia of Ethnic Literature. Entry: Velina Hasu Houston. “The Playwright and The Theater,” by Marcus Crowder, Sacramento Bee, Encore, March 4, 2001, Cover Story and page 19-21. “Skilled in the Art of Rearranging,” by Scarlett Cheng, Los Angeles Times, Calendar, 2000. “Green Tea Girl Finds Herself,” by Wendy Soderburg, UCLA Magazine Volume 9, Number 3, Fall 1997, University of California at Los Angeles. “‘Kokoro (True Heart)’ at the Odyssey Theatre,” Critic’s Pick by Paul Birchall, BACKSTAGEWest, 25 April, 1996. “Search for Self: ‘Heart’ beats true,” by John Berger, Honolulu Star-Bulletin, 29 April, 1996, page D-3. (Regarding the play, “Hula Heart.”) “‘Kokoro’ Goes to Heart of Mother’s Woes,” by F. Kathleen Foley, Los Angeles Times, Calendar section, 18 April, 1996. (Regarding the play, “Kokoro (True Heart).”) “Casting about in the sea of humanity: culture clashes are a favored theme of playwright Houston,” by Wayne Harada, The Honolulu Advertiser, 10 April, 1996, pages D1 and D5. “Survival and off-off Broadway: Moments of Being,” by Cynthia M. Wetzler, The Pound Ridge Review, 16 March, 1995, Acorn Press. (Regarding the play, “Kokoro (True Heart).”) “‘Tea’: Symbolism Beyond the Beverage,” by Misha Berson, 15 September, 1995, pages G1 and G2. “Velina Hasu Houston’s ‘Tea’ Makes Strong Feminist Statement,” by F. Kathleen Foley, Los Angeles Times, Calendar section, 22 September, 1995. (Regarding the play, “Tea.”) “Amerasian lit finally is finding its voice,” Matt miller, The San Diego Union Tribune, Currents & Arts section, 25 September, 1995, pages D-1 and D-8. “‘Tea’ pours a powerful drink of humanity,” by Elizabeth Spear, The Outlook (formerly the Santa Monica Outlook), RAVE! Section, 15 September, 1995. (Regarding the play, “Tea.”) “War brides serve up vivid slices of history at teatime,” Joe Adcock, The Seattle Post-Intelligencer, Lifestyle Arts & Entertainment section, 16 September, 1995, pages C1 and C3. (Regarding the play, “Tea.”) “Multiracial Writer Examines Culture Clashes,” by J.K. Yamamoto, Hokubei Mainichi, 30 June, 1994, page 1. “Hues and Cries,” a career profile by Jan Breslauer, Los Angeles Times, Sunday Calendar section, 7 July, 1991, pages 3, 66, and 70. “Amazing Grace: Velina Houston writes winning plays about growing up Japanese and Black,” Hanh Hoang, Transpacific Volume 6, Number 4, July/August 1991, Malibu, California: Transpacific Media, Inc. “Amerasian playwright steeps work in own life’s experiences,” Santa Monica Outlook, 25 January, 1991, page D3. “‘Tea’ and Empathy: Velina Hasu Houston’s Heartfelt Stories of Japanese War Brides,” Los Angeles Times, Calendar section, 29 January, 1991, page F1 and F12. (Regarding the play, “Tea.”) “Assimilating the Hard Way,” by Raul Moncada, Old Globe Theatre Herald, March 1988, page 1. “Two Blistering Commentaries on Brutalization,” by Sylvie Drake, Los Angeles Times, Calendar section, 1988, Page 47. “‘Morning’ breaks on Kumu stage,” by Alan Matsuoka, Honolulu Star-Bulletin, 23 January, 1991, page B-1. (Regarding the play, “Asa Ga Kimashita (Morning Has Broken).”) “‘Tea’” by Bruce Feld, Critic’s Choice, Drama-Logue Volume XXII, Number 5; January 31-February 6, 1991. (Regarding the play, “Tea.”) “Compelling Opener for War-Brides Trilogy,” by Bernard Weiner, San Francisco Chronicle, 8 March, 1985. (Regarding the play, “Asa Ga Kimashita (Morning Has Broken).”) “Explosive Mixture,” Edith Oliver, The New Yorker, 20 February, 1984, page 104. (Regarding the play, “American Dreams.”)