Ann Harada has been keeping Broadway audiences entertained for years in shows such as Cinderella, 9 to 5, M Butterfly, Seussical, and Les Miserables. I first encountered the finely-tuned musical comedy chops of Harada in the original 2003 off-Broadway run of Avenue Q. Her unassuming portrayal of Christmas Eve in that show had everyone laughing, both at the humor within the piece and at our own ridiculous prejudices.
I recently spoke with Harada about managing disappointment, the power of laughter, and the continued relevance of “Everyone’s A Little Bit Racist”.
How did you first get involved in theater?
When I was in second grade, I remember seeing the 6th graders do a play and being completely transported by how good it was. I wanted so much to do that. I always loved singing in the church choir and doing the school May Day pageants. In high school I went with my friend to audition for The Importance of Being Earnest. She wasn’t cast but I was, as Merriman. I was hooked.
Ann Harada as Mme Thernadier and Carly Rose Sonenclar as Cosette in Les Miserables. (Photo: Joan Marcus)
How do you manage the inevitable disappointments that come with being a professional actor?
I have no idea. Sometimes I don’t manage them very well (obsess about not getting it, hold a grudge against innocent actor who did get it), and other times I forget about it almost instantly. I think we’re all so accustomed to failure at this point it takes something very special to register as a huge disappointment.
Having children has been likened to having your heart walking around outside of your rib cage. What impact did becoming a parent have on your openness and vulnerability on stage?
I cry very easily now. To be truthful, ever since I had a kid, I also occasionally pee on myself when I laugh, so it’s really increased liquidity on many fronts.
Ann Harada in the West End production of Avenue Q (Photo: Carol Rosegg)
What impact does audience response have on your performance?
Of course we all use the audience as a laugh barometer to see if our comedy is working. But I don’t really mind if they’re quiet, as long as they’re not texting or talking.
You played Christmas Eve in the original Off-Broadway and Broadway casts of Avenue Q. Can you talk about finding that character and walking the fine line between playing into stereotypes and satirizing those stereotypes?
For me, Christmas Eve is not so far from myself, if I had an accent and lived on Avenue Q. I always just tried to stay true to her character. Strong, no nonsense, direct.
Do you believe that the line from that show, “Everyone’s a little bit racist” remains relevant?
Never more so. Everyone is a little bit racist, but it turns out some people are a lot racist. It’s been horribly disappointing.
What do you think about the state of diversity and Asian-American representation in American theater?
I’m thrilled people other than Asian-Americans care about it at all, frankly. We’ve just been talking to each other about it for years. We have a long way to go but I am hopeful.
How has theater been therapeutic for you personally?
How hasn’t it? I go to theatre to restore my soul. It’s my church.
Why does theater matter? What excites you about theater?
In modern culture, we are more isolated than ever. It’s rare that even an entire family would watch the same program on TV. But the theatre is a collective experience. We tell a story to a group, all of whom experience it together, and feed off of each other’s energy. That is thrilling. There is nothing more compelling to me than to watch a human being be vulnerable and powerful and scared and triumphant onstage. Because that’s all part of who we are and we learn so much about each other and about ourselves.
What’s next for you?
I’m doing The Nerd by Larry Shue, directed by Kevin Cahoon, out at George Street Playhouse in New Brunswick, NJ. It’s only an hour away on NJ Transit, running April 24-May 20.
