Telling Untold Stories Through Theatre

Man of God put on by Theater Mu was a play to see

TW: The play Man of God discusses triggering topics such as pedophilia, eating disorders, sexual abuse, drug use, and violence. This article will also discuss some of these topics briefly.

A few weeks ago, I attended a play called Man of God with other TRIO SSS students. Man of God was put on by Theater Mu at the Mixed Blood Theater in Minneapolis. The play details the reaction of four members of a Korean Christian youth group when they find out that their pastor has hidden a camera in their hotel bathroom. For the next 90 minutes of the play, audience members get to see each of the four young women try to regain control of their reality through revenge fantasies.

*A promotional photo of Man of God, courtesy of Theater Mu*

Theater Mu is a local theater company that uplifts Asian American voices and stories through performance. It is the only pan-Asian theater company in Minnesota and one of the largest and most prominent Asian American theater companies in the United States. Theater Mu not only provides a place for Asian American actors and producers to share their stories, but it also allows Asian Americans of all backgrounds to connect and feel a sense of belonging.

I interviewed Lily Tung Crystal, the artistic director for Theater Mu, to understand why Theater Mu chose to put on the production of Man of God. The production was initially intended to be put on during the 2020-2021 season which focused on revolutions and coincided with the #MeToo movement. It was postponed due to the pandemic, but despite that, “in the winter of 2022,” Crystal stated “it’s no less relevant.”

As a dark feminist thriller, Man of God focuses on how these four young women cope with being sexualized by trying to tale control of the situation through revenge fantasies and disillusionment. This offers the actresses the opportunity to portray deep and complicated Asian American women characters. During the after show talk-back, the cast was asked by Crystal how this felt. “They all acknowledged how rewarding it was to play these vivid young women,” Crystal said, “and be able to sink their teeth into impactful and meaningful material.” Knowing this adds to the significance of the play and the performance because there is a lack of deep and complex women roles in American theater.

One of the aspects of the play that I enjoyed was how each woman’s revenge fantasy, or lack thereof, seemed to fit their personalities and goals perfectly. One of the characters, Jen, is focused on becoming a lawyer when she is older, and her revenge fantasy took the shape of an interrogation of the pastor. Kyung-Hwa, another character, is more level-headed and doesn’t have a revenge fantasy. Instead of that, she simply asks the pastor why he did it. Another student, Maya Radtke ‘25 (International Affairs), stated that the story is “one that might seem familiar, and yet it is told in a way that is refreshing and where the audience is able to connect to at least one young woman on the stage either through experiences, personality, or similar thinking processes.” Radtke’s comment about being able to connect to one of the women on stage resonated with me, because I felt the same way.

For me, this play was extremely powerful. I haven’t attended a play that wove humor and heart with serious topics such as sexual harassment, misogyny, and the sexualized view of Asian American women. Theater Mu’s productions often have this element of telling untold stories and bringing these topics to light. My friend and fellow TRIO SSS student, Rin Kilde ‘23 (Public Policy and Communication Studies) said “these stories are not told because people in power think they aren’t worth being told.” The gatekeeping of narratives by people in power contributes to the loss of stories and the amount of personal accounts that are swept under the rug.

Ultimately, the play Man of God is a powerful piece of art and activism that calls attention to untold stories that many think may not be worth telling. Two reflections on the play that I invite readers to think about are Pa Ku Lee, a TRIO Success Coach, and her hope that “this different form of social activism through theatrical art can empower others to take action and to change how we support our survivors,” and Rin Kilde’s ‘23 comment that “there should be more women going feral for absolutely valid reasons in the media.”

Check out Theater Mu’s website here: www.theatermu.org