[NoHo Arts District, CA] – This month’s Soaring Solo blog, “A Solo Theatre Success Story: an Interview with Kristina Wong.”
As solo artists, we give every performance 110% when we step onto the stage to share our very personal stories. We stand there naked, sometimes figuratively and sometimes literally. We are all alone under those bright lights with no castmates to share the weight of the audiences’ expectations.
After leaving our blood, sweat, tears, souls, clothes, pride, and even our finances, out on the stage, it’s easy to ask ourselves, “why am I doing this again?”
The WHY behind our work is truly everything.
Whether you perform to five people or a crowd of 500, whether you get a bad review or critics are raving, whether you break box office records or can barely pay rent after paying your publicist, whether you garner fans or lose relationships because of the bold things you said from stage; no matter the circumstance, no matter the outcome, it is absolutely crucial that you have a rock solid reason why you are doing this work.
For me, why I choose to spend all day every day exploring the craft of solo theatre and working with hundreds of solo artists all over the globe to help them speak their truth from stage is because I wholeheartedly believe that this artform truly does heal and transform the world one story at a time.
So, while the path of a solo artist is full of twists and turns, and ups and downs, if your motivation is clear and deeply rooted, I believe you can reach levels of excellence you never dreamed possible.
Speaking of levels of excellence, in today’s blog I am honored to interview a solo artist that has surpassed the dreams and goals of many aspiring playwrights and performers, Kristina Wong.
Unless you’ve been living under a rock, you likely know that Kristina Wong won the Drama Desk, Lucille Lortell and Outer Critics Circle Awards for Best Solo Performance. She also recently obtained the Guggenheim, a Doris Duke Award and is a finalist for the Pulitzer Prize in Drama.
Being a colleague of Kristina’s for many years, I have had the pleasure of witnessing her unwavering commitment to this craft. Hers is not an overnight success story like it may seem. Kristina has been dedicated to her work as a Solo Artist for many, many years creating Solo Art such as Kristina Wong for Public Office, Wong Flew Over the Cuckoo’s Nest, Wong Street Journal and, of course, Kristina Wong, Sweatshop Overlord.
Her profound and provocative work often comes from a feminist point of view and infuses themes of race, sex, privilege, and the Asian-American experience.
As a solo theatre director and coach who constantly seeks out inspirational examples for my students and clients to emulate, I am beyond elated to witness all of the successes that Kristina has acquired and the impact she has made on the world.
I invited her to share some of her thoughts about her journey as a solo artist with the NoHo Arts and Soaring Solo readers and she graciously obliged.
JESSICA: Kristina, thank you so very much for taking time out of the creative whirlwind you are currently in to chat with me and my readers. To kick off our conversation, what advice do you have to aspiring Solo Artists who wish to make an impact with their story as you have done?
KRISTINA: Wait for a global pandemic, start a national mask sewing collective of volunteer Aunties called the Auntie Sewing Squad, run it for over 500 days only because those most vulnerable to the pandemic still aren’t able to access the resources capitalism affords others, witness the complete failure of the government response to said pandemic, document what you see on Zoom in streaming performances, then premiere the show off-Broadway and tour it as the world “re-opens”.
If the above is too specific to me, I know I got a lot out of applying for the Department of Cultural Affairs Los Angeles Artist-in-Residence grant which involves a lot of teaching and coordinating art in communities with no arts programming. But I conducted workshops with communities aligned to what the shows I was working on at the time were and that mutually informed the process of making my shows. Some of these communities were the Bus Riders Union, undocumented immigrants, formerly incarcerated APIs and the community in Skid Row. It’s a pain in the ass application but I don’t think I’d be the artist I am had I not been able to work with communities this way.
JESSICA: Wow, it’s very inspiring to see how you were able to create such powerful solo theatre simply by identifying tangible problems brought on by the pandemic and addressing those very real concerns with timely solutions. It is also clear that the Department of Cultural Affairs Los Angeles Artist-in-Residence Grant made an incredible impact on your life and art, as I am sure it did for the communities who benefited from the work you did.
With so many years in the genre of solo theatre, I am sure you have learned a multitude of do’s and don’ts. What would you say is the biggest mistake solo artists make that you advise staying away from?
KRISTINA: I would say that while this work is therapeutic, it’s not the same as actually going to therapy and that people should work their shit out with a therapist and not an audience… but who am I kidding? I totally work my shit out in public and get more out of doing my shows than sitting for a bored audience of one! So that’s not really learned advice.
I think knowing exactly what your show will be before you make it and leaving no room for discovery, growth or surprise in the process of creation usually reflects in a meh show. There should always be something you don’t know the answer to before making the show.
JESSICA: I absolutely agree. So much of creating a one-person play is about the process, the discoveries along the way, and the personal transformation it fosters. If we go into it with a rigid plan, we rob ourselves of some of the greatest gifts this genre has to offer. And yes, while solo theatre can absolutely be therapeutic in nature, it is definitely not the same thing as actual therapy. I usually encourage clients to seek additional mental and emotional support while creating their solo shows because so much trauma and drama comes up to be healed when doing this work. It’s definitely not an easy path, yet catharsis and healing can totally happen within the creative process if we set ourselves up with the proper support system. All of that being said, have you ever wanted to quit being a solo artist along your journey, and how did you continue moving forward in spite of that?
KRISTINA: Holy shit, I almost quit so many times but I wasn’t sure what else to do with myself. I realized after making “The Wong Street Journal” (2015) where I actually did volunteer work in Uganda with the idea that whatever happened there would inform my yet to be written show, that I didn’t want to make anymore shows that mined my painful past or just soaked further in my own pathos. Instead, I want to turn every new show into my own grad school where I learn new things. Sure the show might reflect on my past and pain but force me to do a lot of reading and research about things I don’t know about. So now my recent projects reflect more of a research and development process of me having to try things I’ve never done before and reporting on that. Like “Kristina Wong for Public Office” had a research process of me actually running and serving in public office in Koreatown.
JESSICA: That’s awesome. Viewing the creation process of your shows like graduate school is such a rich paradigm to see this work through. Yet, even with tons of research and facts under your belt, I imagine there might still be places of insecurity or doubt as so many of us solo artists face. Have you ever faced an inner critic that could potentially hinder you and your artistry? If so, how do you handle that critical voice?
KRISTINA: Not only do I have inner critics, I have outer critics, internet trolls and even a stalker who have all actively tried to ruin my career. Just last week Tucker Carlson mentioned me on his show and his trolls came for me online. (I don’t want to get into details on this, you can google it.) Luckily, I still feel safe. The way I deal with the outer critics is I tell myself they are just mad at the “character” of Kristina Wong. The way I deal with the inner critic is I am just too fucking busy these days to give any energy towards second guessing and stopping myself. I’ve survived this fucking long doing this work, I’ll make it at least another 25 years.
JESSICA: I’m truly sorry to hear about the internet trolls and I am happy to hear you still feel safe in spite of such loaded behavior toward you. And with regard to self criticism, I can very much relate to the “too fucking busy” defense! When you do allow yourself to slow down and reflect upon your many impressive accomplishments, what are you most proud of in your career as a solo artist and why?
KRISTINA: All of 2022 and what I’ve racked up so far in 2023 make me proud. I won the Drama Desk, Lucille Lortell and Outer Critics Circle Awards for Best Solo Performance. I’m now repped by CAA. I just got the Guggenheim, a Doris Duke Award and am a finalist for the Pulitzer Prize in Drama. The LA Times ran two calendar cover stories on me in 8 days and NPR just did a profile on me. I’m just so damn proud of all this because I know I worked and earned all of this. I’ve had people dismiss me throughout my entire career and it still hurts, even though I’d like to think I’ve proved them wrong. This has been a brutal fucking thankless journey to get here and it’s nice to be standing on a little ledge and not hanging off a cliff by my fingertips anymore.
JESSICA: Everything you just listed is deeply inspiring. I know that there are so many artists in the NoHo Arts and Soaring Solo communities (and beyond) who will look at all you have achieved, the work ethic it took to achieve all of that, and will be able to tap into their own motivation to keep going. They will remember to never give up no matter how often they too might feel dismissed. I mean, you have already achieved so very much, but what other ambitions do you still have as an artist and a human?
KRISTINA: Most of my earlier work feels like it was made from a place of fear, anxiety and insecurity. I feel more confident and secure now, especially as these validations in my career have come in, and I just look forward to seeing what the second half of my life looks like as I create from that place.
JESSICA: So relatable. I think many solo artists create from that same place letting fear, anxiety and insecurity be their creative fuel. Therefore, it is something to aspire to to be able to instead create from a place of confidence, security and validation. In my opinion, no matter what is motivating it, if excellent solo art is being made, it doesn’t really matter what the instigator is.
Well Kristina, you have given my readers so many valuable insights in this interview already, but is there anything else you wish to share that I have not asked you about?
KRISTINA: I know when people want to become solo artists, they think they need to write to people like me and ask to treat me to free coffee to “pick my brain” about how to tour, etc. Please don’t do this, especially if you have never seen my shows. I don’t like coffee. I don’t need free coffee. I get so many emails from people who have no idea what I do but they ask me for my time because they know I am working and they want to work too.
Just come see my shows. Become a colleague. Become a friend. And fergodsakes, after that point, offer SOLID FOOD if you want people’s time and advice. GOOD SOLID FOOD LIKE SUSHI. And don’t ask me to write your grant applications or send you old copies of my “winning grant applications”. I can’t tell you how many times I’ve been volunteered to strangers as a free grant writer. Sorry, that’s not me.
Well, that concludes my interview with Kristina and I cannot thank her enough for generously sharing her thoughts and insights in today’s blog.
And if you are feeling inspired by everything you just read about Kristina, then you will definitely want to pick up your copy of The Auntie Sewing Squad Guide to Mask Making, Radical Care, and Racial Justice book: https://bookshop.org/books/the-auntie-sewing-squad-guide-to-mask-making-radical-care-and-racial-justice/9780520384002
If you happen to be in San Francisco or are able to make the trip to Northern California, then you will not want to miss another chance to catch Kristina Wong, Sweatshop Overlord at ACT in 2024: https://www.act-sf.org/whats-on/2023-24-season/kristina-wong-sweatshop-overlord/
Hopefully, this interview filled you with inspiration, demonstrated what is possible in the world of solo theatre if you never give up, and most importantly, put you back in touch with your Why.
Being a solo artist may not be easy, but it is so worth it!
Jessica Lynn Johnson
Founder & CEO of Soaring Solo LLC
SoaringSoloArtist@gmail.com
www.SoaringSoloStudios.com
Enjoy these Solo Theatre Resources to further guide you on your solo journey!
Tune in and Support the Soaring Solo Community as we share our stories from stage in multiple festivals internationally. We are heading into the Hollywood Fringe Festival in June! You do NOT want to miss these incredible shows.
Award-winning director and developer, Jessica Lynn Johnson, hosts a slew of powerful solo show script readings and full staged productions addressing various impactful and inspiring topics.
This enticing lineup can be found by CLICKING HERE FOR MORE INFO.
Start writing your own Solo Show one Freewrite at a time with “FREEWrite Friday”!
Join BEST NATIONAL SOLO ARTIST WINNER Jessica Lynn Johnson for FREEWrite Friday!
Utilizing thought-provoking writing prompts, Jessica will lead you in writing exercises that are sure to assist you in the development of your Solo Show.
A one-person play is not typically written in one fell swoop. Rather, the Soaring Solo Methodology teaches that the creation of solo art is much like that of creating a mosaic…one beautiful piece at a time.
All that is required to attend this inspiring event is a willingness to explore, having a pen, paper, or some other means of capturing your thoughts, the ability to access Zoom, and signing up on this page as your official RSVP.
We look forward to having you join the Soaring Solo Community in this event because your story matters!
CLICK HERE TO RSVP and obtain the Zoom link and password.
Attend the Soaring Solo FREE One-Person Play Development class ONLINE!
No matter where you are in the creation of your solo show, idea phase, curiosity phase, full draft written, touring the festival and college market, BEST NATIONAL solo artist and founder of Soaring Solo, Jessica Lynn Johnson, will meet you where you are at and take you to the next level! All that is required to attend is a willingness to explore, a pen, and some paper. No previous writing or performance experience necessary, and no need to have written anything to bring to class. Each week Jessica will guide you in exercises to help generate and stage NEW material! So come and meet other creatives in a supportive space for expression and exploration! The class is ongoing and so you may pop in and out as you please as long as you RSVP by clicking here for this FREE ONE PERSON PLAY CLASS.
Schedule an Online Coaching Consultation with Jessica Lynn Johnson to discuss the possibilities for your solo show!
Jessica brings her nearly 20 years of solo theatre expertise to work privately with solo artists from all over the world on an as needed basis.
A 1 on 1 Consultation is for you if…
-You are curious about creating a solo show, but you need writing prompts to help you generate material.
– You are tossing around ideas for your solo show, but you need some accountability and encouragement to commit those ideas to the page.
-You have already written some material, but you need expert feedback on editing, story structure and play formatting.
-You have a great first draft, but need guidance on how to utilize multimedia and solo theatre technique in order to make your show a dynamic piece of solo theatre.
-You already premiered your solo show and now you want some tips on how to tour colleges and festivals, and garner accolades and great reviews!
-You have heard great things about Jessica’s work and you’re curious about hiring her as a director and developer for your solo show, but first you want to feel her out and see if she is the right fit for you and your project.
Wherever you may find yourself on your solo journey, Jessica will help you overcome whatever immediate obstacle stands between you and your solo success.
If you resonate with many of the things on this list, then take the next step by emailing SoaringSoloArtist@gmail.com for more information.