Anna Walden grew up in Manoa, graduated from Punahou School and went to Stanford University planning to major in electrical engineering. She was in her third year when a friend who was a theater major needed actors. That was the start of her career as an actor, comedienne and playwright. Walden ended up graduating with a bachelor’s degree in creative writing and went to New York for training as a actor at the Stella Adler Studio of Acting and then to the Royal Academy of Dramatic Art (RADA) in London. In September, she completed RADA’s MA Theatre Lab program, a master’s degree in theater and performance.
Walden, 28, was here in January for the Aloha Haha Festival. She’ll be in Yokohama, Japan, for the TPAM2020 Fringe performing arts festival, Feb. 8-16, where she’ll present a performance piece titled “Cherry Blossom/Cherry Bomb.”
What is “Cherry Blossom/Cherry Bomb” about and where does it come from?
One of our first assignments at RADA was to create a solo piece in the style of “Cabaret” and drag that explored our sense of identity. The essential question I wanted to investigate was around being biracial and the richness of that and the complexity of that — and also the conflict and the internal struggle that that brings out and the sense of not belonging to either side, and then being a part of both all at the same time.
Do you think your life would be easier if you were 100% Asian or 100% Caucasian?
Sometimes I think so, but life is going to be complex and challenging and multifaceted and exciting no matter what your background is. We all have our identity struggles, but I do think that the question of race and belonging to a certain race-associated culture is more clear-cut when you look like that group.
Do people outside Hawaii try to figure out what race you are?
Absolutely. “What are you?” is a very common question. Some people feel alienated by that question. I don’t.
How does your recent solo show, “Pearl City Sunshine,” fit into your life?
It was about my grandfather, who was half Japanese and half Chinese. He passed away this past July. He was in the Korean War, he saw the Pearl Harbor attack, he’d seen Hawaii change so much in his lifetime. And so this was kind of a tribute to him, not only to tell his story but also because it helped me deal with losing him.
Is there any chance that you could perform again in Hawaii?
Yes. I’m auditioning for a Kumu Kahua (Theatre) show in April so that might bring me back here. I want to keep ties in London, New York and Hawaii going forward, but Hawaii is always home. I’m always so excited when a project brings me back here.
Do you have a 10-year plan?
To be well-established as a theater practitioner, as a theater maker, writer, director and performer primarily. I hope that (in 10 years) I’ve done a lot of classical theater. I also hope that I’ve done a lot of my own work, because it is scary — writing your own work and putting it out there, it makes you quite vulnerable. I hope to come back here and become a part of the community and enrich it and add to it and bring back whatever I’ve learned — and learn from the people here.
Is there something that might surprise people who see you perform?
I was actually quite shy when I was growing up. Acting had been a childhood dream of mine, but I had too much stage fright to pursue it until college. They might be surprised that I was a pole vaulter in high school, and I have my scuba diving advanced certification.
