Showing posts with label Theatre Arts. Show all posts
Showing posts with label Theatre Arts. Show all posts

Wednesday, June 8, 2022

Graphics: Author C.Y. Lee in Magazines

Theatre Arts, July 1944
Page 440: Chinese Plays
... Thy Son Is Right by Lee Chin-Yang, a four-act melodrama dealing with a Sino-Burmese border incident, was the major spring production at Yale. The play, Mr. Lee’s third, is the climax of two years of uprooting at the hands of the Japanese which tore the playwright from his position as overseer of a section of the Burma Road and eventually brought him to the United States.
Theatre Arts, September 1945
Pages 532–538: The Land of Nobody

















Theatre Arts, November 1945
Pages 656–660: Movies Come to China

















Theatre Arts, July 1946
Page 424, column 3 
... two new plays at the Yale University Theatre, Gideon by Randolph Goodman and Laurel in the Moon, a Chinese comedy by Chin-Yang Lee ... 





















Writer’s Digest, August 1954
Page 46: Prize Winners
$3,000 Writer’s Digest Short Fiction Contest
1st Prize of $750 Goes to C. Y. Lee
226 Third Street
Pacific Grove, California

















(story published in Ellery Queen’s Mystery Magazine)


Writer’s Digest, August 1955
Page 36: 1955 Short Short Story Contest Winners

Ellery Queen’s Mystery Magazine, February 1957
Pages 104–106: The Forbidden Dollar



















The Greenwood Encyclopedia of Asian American Literature (2008) and Chinese Americans: The History and Culture of a People: The History and Culture of a People (2015) said Lee’s “Forbidden Dollar” won the 1949 Writer’s Digest short story contest and was anthologized in Best Original Short Stories. Both are wrong on the date and title of the book. Below is an excerpt from the introduction (above) to Lee’s story. 
“The Forbidden Dollar” is the author’s first published short-short story. It won First Prize of $750 in the “Writer’s Digest” contest of 1954 and was awarded third prize in the forthcoming Volume 5: Best Original Short-Shorts, edited by Robert Oberfirst, to be published by Frederick Fell in March 1957. 
“Mr. Weng’s Last Forbidden Dollar” appeared in Anthology of Best Short-Short Stories, Volume 5 (1957). 

The New Yorker, March 30, 1957

Writer’s Digest, September 1957

















The New Yorker, July 26, 1958

The New Yorker, August 30, 1958

The New Yorker, September 12, 1958

Playboy, October 1958
Page 15: ... Rodgers and Hammerstein’s The Flower Drum Song, their adaptation of C. Y. Lee’s novel on San Francisco’s Chinatown ...

The New Yorker, December 6, 1958

The New Yorker, December 20, 1958

Stanford University Dramatists’ Alliance, 1958
Page 2: Came the Year of the Rooster
In the competitions of Dramatists’ Alliance for 1953, a young writer named Chin Yang Lee submitted plays for all three categories: Half Hour at Paradise (Alden), a comic sketch of the Chinese student practising his American slang; The Laurel in the Moon (Etherege), a delicate and elusive play of happy love on the China-Burma border; and Madam Gold Flower (Stevens), an austere story of a bold, a enchanting woman patriot during the Boxer Rebellion. The last two won honors and went to the judges, but the elusive atmosphere, the hinted plot, the sly humor, all as true (and as strange) as a painting on Chinese silk, left the judges uncertain was to how these shrewd and brittle pieces could be staged in a way to show the value and charm; they remained honors plays. 
Pageant, May 1959
Pages 136–141: Meet Your Chinese Neighbors
















Rogue, September 1959
Pages 40–41, 74, 86: The Casanova of Kearny Street
















Gent, February 1960
Pages 52–55, 70: Chicken, Wanna Neck




















Coronet, March 1961
Page 5: Dear Reader: 
















Aware, December 1961
Pages 28–39, 70: The Cheongsam
















Cavalcade, December 1961
Pages 17–18, 60–62, 70: Sideline Girl

















Writer’s Yearbook, 1961
Pages 33–34: The Flower Drum Song

















Rogue, March 1963
Pages 50–52, 60, 62, 79–81: What Makes a Smash Hit? ... or: how “Flower Drum Song” danced its way from the pages of The New Yorker to Broadway and Hollywood, bringing its writer fame and fortune.

















Los Angeles Times, West magazine, February 13, 1972
Pages 12–13: The Year of the Rat Is Here


Further Reading
Cavalcade (Playboy magazine imitator)
Gent (Playboy magazine imitator)
Rogue (Playboy magazine imitator)
The Comics Journal, Remembering Playboy & Hef


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(Next post on Wednesday: David Henry Hwang in School Yearbooks)

Thursday, November 28, 2013

Yun Gee in Theatre Arts Magazine

September 1949

Yun Gee, the painter currently constructing a tunnel to the moon starting from the rear garden of his small apartment in Greenwich Village, finds the future in tomorrow, rather than in the past as Roberts does. As an artist Yun Gee has attracted some attention. An impressionist with a fine sense of color and an extravagant imagination, he has been honored with a one-man exhibit in Newark. He also invented a four-handed checker game.

But his tunnel to the moon is his chef d'oeuvre. It was conceived in the spring of 1946, and might now be in the first stages of construction had not some vile thief stolen Yun Gee’s elaborate set of blueprints later that year. That mishap may have delayed the fulfillment of Yun Gee’s dreams, but it has not discouraged him. While less inspired New Yorkers were wasting time trying to cool off at nearby beaches during the drought this summer, Yun Gee was working up a new set of plans and concocting a brochure which he feels sure will result in the initial capital necessary to launch his gigantic project. Nine million dollars will get things underway. That amount is not, of course, a drop in Yun’s total lunar bucket. The tunnel can be built, without extras, estimates Yun, for 150 billion dollars, considerably less than the total cost of World War Two. “And who will say,” says Yun, “that it will not bring more happiness to the world?”

Nothing makes Yun more unhappy than careless reporters who refer to his project as a “bridge” to the moon. “Scientifically,” he has told me repeatedly, “a bridge to the moon is preposterous. You would never get it beyond the atmosphere. It must be a tunnel so that it can be filled with atmosphere.” For the mechanically inclined Yun Gee’s tunnel will be constructed of aluminum tubing, ten blocks in diameter (Yun is a true New Yorker, measuring small distances in blocks rather than miles or fractions thereof) for the first thirty miles. From then on—that is, for the next 221,006 miles, more or less—it will be possible to construct the walls of the tunnel of bamboo and canvas. The project will employ a million men, and Yun Gee sees it as a giant insurance policy against unemployment in event of an extended business recession. Yun Gee is not enthusiastic, however, at the thought of government financing of the tunnel. “A thing of this nature, involving a certain element of risk, should be undertaken by risk capital. It is all very well, on the surface, for the government to step in and provide material and funds; but frankly, that is not how the American West was won. You cannot open up new frontiers by decree. When this thing is done it will be done by men of vision and daring.” Thus far no men of vision and daring have stepped forth with funds. A neighbor of Yun's applied for the soft drink concession for the tunnel; he offered to pay $100000 for the privilege, if and when completed, but as Yun observed, “It is not the kind of money you can use.”

Like Henry C. Roberts the book dealer, Yun Gee, the artist is not discouraged by temporary setbacks. For he has dreams.


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(Tomorrow: Yun Gee’s Patent)