Founded in 2015, Gung Ho Projects is a New York-based performance and education platform aimed at creating opportunities for self-expression, empowerment, exchange, and understanding across linguistic and cultural divides. 

Our Mission, like our work, transcends the boundaries of a single language or cultural perspective:

Gung Ho工合Projects

שפּרינג leaps 跨文化

into the 間 between cultures and languages,

creating theater, film, and spaces for learning that

変えるgozar‏تنوير 변화 遨遊 שפּיל

to propel us forward, together.

Our Vision

We work to create a world where everyone has the opportunity to learn, find community, and experience transformative art in any language, including their native one(s) or languages they are just beginning to learn or hear for the first time. Creemos que no hay una jerarquía de idiomas (there is no hierarchy of languages), and that storytelling is at the forefront of diplomacy.

Our Process

All of our projects involve the creation of original, multilingual performance or film in response to a social issue and centering a collaborative process and narrative that exists between dominant cultures. Past projects have touched on racial divides in Appalachian America and Sichuan, China; LGBTQ+ identity and marriage in Taiwan and the US; the history of Chinese American detention at Angel Island; the Chinese social media app WeChat; the radical liberation of gay cruising in Asia and the US; and the tension between tradition and reform in Jewish and Chinese communities (explored through the lens of the musical Fiddler on the Roof). Artists from the communities whose stories we are telling are always central to the work, and our collaborative teams are always pluralistic to ensure exchange across identities and experiences.

(1)

It begins with an idea or a curiosity that lives between cultures and languages – a vibrating semilla. 

(2)

Whoever has this 씨앗, quivering in their pockets, comes together. We each explore this 種子 in our various tongues, and, over time, find our new, shared way of describing <<[{}]>>.

(3)

We eventually discover what the semente will grow into – a film, a play, or an all-night dance party. 

(4)

We define individual and group roles for us to tend our garden and cultivate our seedling as organically as possible. We cultivate, we revise, we sample, we trim as it grows and grows, stirring the pot and adding unlabeled spices from our ancestors' cupboards.

(5)

And we share what has bloomed with our communities. They learn a new word for it, and taste some of the fruit, with a delicious flavor beyond words.

Core Values

Y los cuentos, se los lleva el viento - Everyone, regardless of their identities or artistic training, has a story to tell and the ability to transform the world by telling it.

Play it by Ear (or, A Method to the Madness) – There is joy and drama and discovery in the space where multiple languages and cultures clash, overlap, intersect, or fall short of one another. Go there.

דער שׂכל איז אַ קריכער - The magic of exchange and connecting across cultures happens not only in the presentation of an artistic work but in every stage of its creation.

Cuentan los que vieron (y no estaba, pero me lo dijeron) - Cultural ownership, autonomy, and representation - we aim to have a broad range of identities and experiences present in the room. At the same time, artists who share the identities of the key figures in the work should be at the center of creating it. 


Our Team

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Stefani Kuo 郭佳怡

Stefani Kuo (郭佳怡) is a playwright/performer and native of Hong Kong and Taiwan. She received her B.A. from Yale and is an MFA Playwriting Candidate at the Yale School of Drama. Fluent in Cantonese, Mandarin, French, and English, she is interested in crafting multicultural, multilingual narratives for an international audience. She has been an awardee of the Jerome Fellowship at PWC, Dramatist Guild Fellowship, finalist for the National Playwrights Conference, Jerome fellowship at Lanesboro Arts Centre, Many Voices Fellowship at PWC, the Working Farm with SPACE on Ryder Farm, Van Lier New Voices Fellowship, NAP Series, DVRF Playwrights' Program, BRIC Lab, semi-finalist for the Page 73 Playwriting Fellowship, Princess Grace Fellowship, Ground Floor at Berkeley Rep, Scratchpad Series at Playwrights Realm. Her play, Architecture of Rain, premiered at the Iseman Theatre at Yale and received a reading in the DVRF Roundtable and Checkmark Theatre Company series. She was commissioned to write a play for the Rubin Museum's Spiral Magazine, and is currently commissioned to write a play for Roundhouse Theater Company. Her play delicacy of a puffin heart was produced with the 2018 Corkscrew Theatre Festival and The Parsnip Ship. Final Boarding Call has been presented as a virtual reading co-produced by WP and Ma-Yi Theater Company in 2020, workshopped as a part of the 2020 Bay Area Playwrights Festival at Playwrights Foundation and the 2020 Irons in the Fire Series with Faultline Theater Company. It was also a semi-finalist for Barrington Stage’ Company’s Burman New Play Award. She was a member of Interstate-73, Page 73’s Writers Group, in 2019. Her work in creative non-fiction, poetry, and translation have appeared in The New York Times, China Hands, Yale Literary Magazine, and more. Her poetry has been displayed as an installation piece, as part of Berlin Art Week 2017 at the Centre of Substructured Loss. She is represented as a playwright by Kevin Lin at CAA and Jacob Epstein at Lighthouse Management. (www.stefanikuo.com) (For more on Hong Kong http://parachute.substack.com)


Michael Leibenluft 李邁

(Founder/Artistic Director)

Michael Leibenluft is an Obie Award winning director and educator. Fluent in Mandarin, Michael has directed numerous theater projects in Chinese or bilingually in Mandarin and English, including The Subtle Body by Megan Campisi at 59E59 and the Shanghai Dramatic Arts Center, North Bank Suzhou Creek by William Sun at the Shanghai International Arts Festival, Salesman之死 at the LaGuardia Performing Arts Center and 14th Street Y, and Paula Vogel's How I Learned to Drive, which has been touring China since 2015 with Drum Tower West Theater.

Michael is currently based in NYC, where his directing credits include I’ll Never Love Again (a chamber piece) by Clare Barron at the Bushwick Starr (Obie Award for Direction, 2016; NYT and Time Out Critics’ Picks), Cancer Cancer Cancer by Alexander Paris at Ars Nova AntFest, The Whore from Ohio by Hanoch Levin with New Yiddish Rep, How I Learned to Drive by Paula Vogel with Drum Tower West Theater in Beijing, Lost Tribe by Alex Borinsky as part of Target Margin’s Yiddish Theater Lab, and other projects with New York Theater Workshop, LMCC, The Civilians, EST, and NYU/Tisch.

He is an alum of the Soho Rep Writer/Director Lab, the Lincoln Center Directors Lab, as well as a former Fulbright Fellow, SDCF Kurt Weill Fellow, and Drama League Fall Directing Fellow.

Michael graduated from Yale as a double major in Theater Studies and East Asian Studies and completed his Masters in Performance Studies at the Shanghai Theatre Academy.

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Yilong Liu 劉藝龍 (Company Member)

Yilong Liu is a New York-based bilingual playwright and screenwriter, originally from Chongqing, China. Currently, he is a member of Ensemble Studio Theatre's OBIE-Award winning playwrights group Youngblood and serves as a mentor for NYFA's Immigrant Artists Mentoring Program. Plays include The Book of Mountains and Seas (Kennedy Center Paul Stephen Lim Playwriting Award, Upcoming: New Conservatory Theatre Center), Curb (EST/Sloan New Play Commission, Berkeley Rep Ground Floor finalist), June is The First Fall (Kennedy Center Paula Vogel Playwriting Award 2nd Place, Kumu Kahua Theatre, Yangtze Rep), Joker (Po’okela Award for Best New Play, Kumu Kahua Theatre, FringeNYC, National Queer Theatre). He is an alumni of The Flea Theater's Writers Group and SPACE on Ryder Farm's Greenhouse Residency. He is the co-writer of Flood in The Valley (Beijing Tianqiao Theatre Center), a bilingual musical set in Appalachia and Sichuan. MFA: University of Hawaii. (www.YilongLiu.com)

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Jeremy Tiang (Company Member)

Jeremy Tiang's work with Gung Ho Projects includes Salesman之死 (Target Margin Theater) and New Plays from Taiwan (translations of work by Chao Chi-Yun, Lin Meng-Huan and Liu Chien-Kuo, Segal Center). Other plays include A Dream of Red Pavilions (Pan Asian Rep) and The Last Days of Limehouse (Yellow Earth, London), and translations of work by Chen Si'an, Wei Yu-Chia, Shen Wan-Ting, Zhan Jie and others. Jeremy is an alumnus of Page 73's Interstate Writers Group and the recipient of an NEA Literary Translation Fellowship. He has translated books by Jackie Chan, Lo Yi-Chin, Li Er, Yan Ge, Zhang Yueran, Chan Ho-Kei and Yeng Pway Ngon, amongst others. His novel State of Emergency won the Singapore Literature Prize in 2018. www.JeremyTiang.com. Photo Credit: Oliver Rockwell.

Lu Yu

(Advisor on Educational Projects)

Upon Graduation with honors from the National Academy of Arts in Taiwan, Lu Yu won a 6-year movie contract with the Cathay Film Co. in Hong Kong and appeared in more than 30 movies. After moving to New York in 1972, he was an original member of LaMaMa ETC. and toured with the Co. to Taipei in 2006for the Asian Arts Festival, as well as Sicily, Spoleto, and was the co-director, choreographer of Carlos Gozzi's “The Raven”, which opened the Venice Biennale Theater Festival in Italy in 2006. He is an advisory board member at Pan Asian Rep. Theater Co. and a co-founder of Yangtze Rep. Theater Co, Mr. Lu Directed and Choreographed at Berkshire Theater Festival, Memphis Theater in the square, and Directed “Butterfly Lovers” at Alice Tully Hall at Lincoln Center, bringing together Chinese opera and Martha Graham modern dance. He played a principal role in Woody Allen's “Hollywood Ending”, Nominated for an Emmy for his role on CBS T.V.'s “Due South”.

He was the Director of Performing Arts at A.R.T.S. Inc. From 1972-2007, and a teaching Artist at City Lore Inc. 1993-present, He works with students from 4 year old to 90 year old, he directed and choreographed more than two hundred musicals in New York City's public schools, and Senior centers, ranging from Chinese Opera to “Phantom of the Opera” and everything in between. Mr. Lu was a panelist for the New York State Council on the Arts Special Art Services division, 2007-2009. Lu currently runs bi-weekly chorus and dance groups at the Open Door Senior Center in Chinatown, as well as teaches residencies for Chinese New Year at PS105 in Fort Hamilton and PS124 in Chinatown.