2017.032.012 Oral History Interview with Eric Chan, August 13, 2003

Oral History Archive

2017.032.012 Oral History Interview with Eric Chan, August 13, 2003

Eric Chan was part of the ensemble and an understudy for the character Chin in David Henry Hwang’s 2002 Broadway revival of Rodgers and Hammerstein’s “Flower Drum Song.” In the interview, Eric is asked to give his thoughts on various versions of “Flower Drum Song” and gives insight into changes made to the show as it transitioned from workshop to Broadway production. A significant portion of the interview addresses the reasons that the show met with less than hoped for success in New York. This interview is one of a series of 18 interviews that author David Lewis Hammarstrom conducted in 2003 as part of research for his book, Flower Drum Songs: The Story of Two Musicals (2006).

0:00 - Was part of workshop readings, thoughts on movie version, thoughts on David Henry Hwang’s version, thoughts on whether characters in original were reflective of real people he knew, his interpretation of the story, comparison of versions

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7:05 - Changes in the show from embryo to production stage, reasons for failure, financial pressures, impact of 9/11, too many cooks giving their input, changes to the New York Broadway production

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18:26 - Thoughts on LA cast left behind when the show went to New York, follow-up on comment about there being too many cooks, Cameron Mackintosh and “Miss Saigon,” Robert “Bobby” Longbottom, follow-up on specific changes made to the show, Gene Kelly, saw no advertisement of the show on Broadway

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29:22 - Thoughts on audience reaction in LA vs. New York, thoughts on reviews of New York production, differences between LA and New York shows, opening night memories, point at which he thought the show might be in trouble, [muffled], Ted Chapin, Mary Rodgers, not privy to whether Rodgers and Hammerstein heirs tried to influence the show

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36:44 - Asked whether he thought the show has a future, tour of three cities, comparing “Flower Drum Song” to experience on “Miss Saigon,” lamenting that the show could have been a success in New York, Hammarstrom explaining the purpose of his book, rumors of a production in San Francisco

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