How To Be Japanese at the Fanatic Salon Theater
You’ve probably heard the classic proverb: “If you want to go fast, go alone. If you want to go far, go together.” But have you ever really thought about what that means?
For a long time, I preferred working alone. It was comfortable—I knew my pace, my work ethic, and exactly what kind of results to expect. No surprises, no headaches. Just me, myself, and I. But collaborating with others? Now that’s a whole different ball game. Too many variables! What if someone’s flaky? What if their vision’s on a different planet than mine? What if it all turns into a chaotic mess? And don’t even get me started on working with jerks—I have a strict no-jerk policy. No matter how brilliant they are. (You’re welcome, universe.)
Over the past three years, my perspective has gradually shifted—or should I say evolved?—thanks to Anthony Phills. When he first offered to help with my solo show, I had no idea how much of an impact he would make. From playbills to screens to marketing materials, he didn’t just enhance my show—he elevated my entire brand. His work ethic and execution are outstanding, consistently delivering results beyond anything I could have imagined.
Fast forward to two and a half years of performing my solo show, and I thought: why not take it to the next level with live music? And when it comes to live music, who else could I possibly think of but Michael Mortilla? We’d shared the stage before, and I had such great memories of working with him.
Michael Mortilla
When we first spoke, he told me he could play music on the spot—reading the room and responding to the audience in real time. That immediately sparked an idea: what if he played impromptu music for my show? Excited by the possibility, I emailed him to see if he’d be interested in collaborating, and to my delight, he said yes!
From there, everything moved quickly—and it was an absolute blast. We set the date, and he got to work. Not only did he compose music, but he scored everything. Watching him work was a joy. He was always engaged, always present, and his music was fantastic from the start. But what truly amazed me was his constant fine-tuning. He kept refining, tweaking, and adjusting until the very end. Every time we suggested something, he would shift gears, and boom—he’d blow my mind yet again with a new direction.
Of course, things didn’t go completely smoothly. I mean, LA wildfires? Check. Friends evacuating left and right? Check. Heavy rain? Check. And let’s not forget the flu that had many of my friends under the weather. Honestly, with all of that going on, I didn’t have the energy—or desire—to promote my event like crazy. But to my surprise, it sold out weeks in advance. I guess people were craving something positive.
And the best part? The show itself was pure magic. The interactions with Michael were a blast. I truly feel like my show reached a whole new level, thanks to my incredible team I had the privilege of working with. After the show, some returning attendees asked if it was a brand-new performance. The live music had completely transformed their experience, stimulating their senses in a way that made them feel like they were hearing some of my stories for the very first time. That’s the power of collaboration—it doesn’t just elevate the work, it reshapes how people experience it.
A single voice makes a sound, but a choir? A choir creates harmony. And with my team, that harmony was everything.
Did I mention the no-jerk rule? It’s non-negotiable!
P.S. The ticket proceeds have been donated to the LA wildfire aid, including Ashton Cynthia Clarke. Thank you all for your support, and cheers!
Thank you!