A New Cultural Pipeline: Taiwan’s Musical Don’t Cry, Dancing Girls Comes to New York
Don’t Cry, Dancing Girls, a poignant and culturally rich Taiwanese musical, is set to make its New York City debut in an exclusive industry workshop presentation. This landmark event is not only the first international showing of the production but also marks a significant step in producer Ken Dingledine’s vision to create an artistic pipeline between Asia and the English-speaking world. With his extensive experience producing Broadway and West End hits and introducing Western works to Greater China, Dingledine is now championing the reverse: bringing Asia’s unique stories and theatrical traditions to global audiences.
What drew you to this project, and why do you believe it’s important to create an artistic pipeline between Taiwan and the English-speaking world?
I was struck by the deeply universal themes of Don’t Cry, Dancing Girls, set against the unique and visually stunning backdrop of a Taiwanese funeral ritual. It’s a story about family, community, and the things that truly matter in life. The score, blending folk, rock, and pop, is fresh and deeply moving — exactly what musical theater needs. This project exemplifies the rich storytelling emerging from Asia, and I believe Western audiences can gain so much by engaging with these stories. This workshop is just the beginning of what I hope will be an ongoing cultural exchange.
Taiwan is known for its rich cultural and artistic heritage. How does this production highlight those traditions, and what can audiences expect during this first New York workshop presentation?
At its heart is the Khan-bong funeral ritual, a deeply spiritual and uniquely Taiwanese ceremony that combines elements of Buddhism, Taoism, and ancestral worship. For this workshop, we’ve preserved the original Mandarin and Taiwanese dialogue with English subtitles while adding an English-speaking narrator to bridge cultural gaps. This approach allows us to evaluate how the original elements resonate with New York audiences before moving toward a full English-language version.
Photos from the original production
How did your personal connection to Taiwan spark your interest in introducing Taiwanese works to international audiences?
My husband is Taiwanese, so Taiwan has been an integral part of my life for over 20 years. I’ve witnessed its “maker culture” firsthand, where creativity thrives. Taiwan has a history of successful Chinese-language plays, films, and TV, and I’ve seen the emergence of some truly talented theater companies producing musicals. The timing feels right to amplify their voices on a global stage.
How has your dynamic career prepared you for this cross-cultural endeavor?
Working internationally has taught me the importance of cultural translation — not just language but understanding the nuances of each audience. Whether adapting Broadway productions for Chinese audiences or introducing Asian works to the West, you must approach every aspect of production, from storytelling to design, with care and respect. My background, coupled with my marriage to someone from a vastly different culture, has prepared me to navigate these complexities and create meaningful cultural exchanges.
What are your goals for this workshop presentation, and what are the next steps for the production?
This workshop is about discovery. We want to see how New York audiences respond emotionally to the story, music, and cultural elements. From there, we’ll refine the production, likely bringing on additional creative team members to adapt it into a full English-language version. The next steps could include another workshop in English and a developmental production in a regional theater, with an eye on Broadway or the West End in the future.
What excites you most about introducing Don’t Cry, Dancing Girls to a New York audience?
I’m eager to see how audiences connect with its universal themes — family, loss, and transformation — while also being transported by the specific cultural elements. The emotional impact of this piece is profound, and I hope it bridges cultural divides by showing how much we all share, no matter where we come from.
How do you see productions like Don’t Cry, Dancing Girls shaping the future of global theater?
Theater is an unparalleled medium for fostering empathy. By sharing stories like this, we not only broaden our understanding of each other’s cultures but also learn new ways of storytelling. Taiwan’s musical theater market, which appeals to a young demographic, offers insights into engaging younger audiences — a challenge Broadway also faces. This cross-cultural dialogue can inspire innovation in how we create and present theater worldwide.
Why is it important to support cultural exchange projects like this one?
Cultural exchange builds bridges. When you see live theater, you’re engaging with real people and stories that foster empathy and understanding. Projects like this create lasting connections between artistic communities and audiences. As we bring more works from Asia to the West, we deepen this mutual appreciation, and the cultural impact grows exponentially.
What message do you hope Don’t Cry, Dancing Girls delivers to its audiences?
I hope it reminds us all of what truly matters in life — family, love, and community — and shows that these values transcend culture.
