For Francis June, stepping back into the world of Yellow Face feels like revisiting an old friend—one that’s aged remarkably well, grown a bit sharper, and is more relevant than ever. “I’m glad it’s taken this long,” he says. "The play needed time to hone itself, and frankly, so did the world." After all, a story about race, identity, and the messy, awkward ways we all stumble through them feels like it was written for the 2024 headlines.
When June first encountered Yellow Face during a reading in 2005, it was already clear that David Henry Hwang was onto something special. In 2007, June became part of the premiere and helped fan the conversation that, honestly the world wasn't quite ready for. Now he goes back to play David's father, finding the role drenched in new complexities. "Audiences have caught up to the play in ways they hadn't before. The timing is perfect, and honestly, a little scary in how much it resonates today."
Finding the Funny in Flaws
I think one of the strengths of Yellow Face is its fabulous sense of humor," June says, "which at turns has been like a balm and a battering ram." He grins and continues: "This play is hysterically funny—sometimes uncomfortably so." "David puts himself in the story and skewers himself, which makes it easier for the rest of us to see our own blind spots."
The humor isn’t just for laughs; it’s a Trojan horse for truth. “We all have blinders, and we’re all just trying to figure it out together. The humor makes it easier to digest that we’re flawed, but also beautifully human,” he adds. "Part of the human condition is being flawed and acknowledging that we are all ridiculous" he shares. By balancing wit with vulnerability, Yellow Face invites audiences to laugh at themselves and, hopefully, learn something along the way.
Representation: Progress, But With an Asterisk
Since the drama premiered, much has changed and shifted in cataclysmic ways, with subtle nuances. Asian stories have huge audiences across global successes: Crazy Rich Asians, Squid Game, Everything Everywhere All At Once. June adds however, things are still far from being complete, not even exciting to celebrate. "Things are better now, but they're still not where they need to be.". There’s this assumption that white stories are the baseline for universal stories. That’s still something we’re fighting against.”
Yellow Face continues to challenge this notion, presenting a narrative that is distinctly Asian American but universally human. “It’s about empathy,” June says. “We’re not always seen as part of the human story, but plays like this prove that our stories belong in the zeitgeist.”
Collaboration with a Master of Nuance
June has worked with David Henry Hwang on several projects, and the collaboration is something he cherishes. "Every now and then, an actor finds a playwright whose words feel like home," he says. For June, Hwang's writing is both a playground and a guidepost, coming to layers of complexity to explore. "His work humanizes all of us.". It reveals our blind spots-but it does so with such care that you feel invited to learn, not shamed.
This revival has given June the opportunity to dig deeper into the character of David's father. "I've done my own study to find what I have in common with him. It's about trusting the process, being brave enough to try, and knowing that the flaws are what make him—and all of us—human."
Laugh, Cry, Repeat: Audience Reactions
But what has really changed since 2007 is not June's approach to the role-it is how audiences feel. "People who saw the original production and are revisiting it now tell me how much more it resonates," he says. "Themes that might have been provocative back then now feel like vital conversations we should have been having all along.".
From newcomers to loyal fans, audiences laugh and reflect but find themselves grappling with the themes from the play. "It's the humour that gets them in the door, but it's the humanity that keeps them talking about it after," June notes.
Advice to aspiring actors: Be Your Whole Self
To the young actor, especially the Asian American, June has this message: "You can't control how other people see you, but you can control how you see yourself. So, focus on why you are really drawn to this craft and what you bring to the table.".
He has been guided by this mindset through an industry that often tends to box the actor into a stereotype. "We're not always seen as part of the human story, but we are. And it's our job to remind the world of that." Theatre as a Catalyst for Change June firmly believes that theatre has the power to create change. “It’s a unique medium. When you’re in a live performance, you’re part of a communal experience. That kind of contact grows compassion in people—it’s spiritual,” he explains.
Yellow Face is no exception and continues to push the vital discussions towards race, representation, and identity. It's not just a play—it's part of a larger movement. It invites people to reflect, to laugh, and to maybe think a little differently when they leave the theatre."
Looking to the Future
As someone who has witnessed the evolution of Asian American narratives, June remains hopeful for the future. “I want to see more opportunities for Asian American talents—not just in supporting roles, but as leads, as storytellers,” he says. “Audiences are missing out if we’re not given the chance to share our stories.”
For June, Yellow Face is play that he acts in but also something he owns proud. And as long as the stories that need be told and blind spots to be uncovered, he will keep doing the work because, as he says, "Theatre is where we come to figure it out together—and if we can laugh while we do it, even better.".