Best known for his role on Sesame Street, Muraoka has also appeared on Broadway and directed at regional theatres across the country. The New York-based artist will next helm Wai Yim and Jason Ma’s TYA play The Great Race at Rose Theater in Omaha, Nebraska, April 17-May 3.
What’s your elevator pitch for The Great Race?
An 11-year-old girl named Kit is friends with Bobby, a Chinese American boy, and Bobby’s grandmother, Mama Yim. When a racial incident occurs with a neighbor, Kit defends them. In return, Mama Yim tells Kit the story of the Great Race and the mythic origins of the 12 animals of the Lunar New Year. These myths show how teamwork, kindness, forgiveness, and celebrating differences are important virtues that we can all adopt into our lives.
This is your second show with Wai Yim. What’s he like to work with?
We’re both super collaborative: Even though we’re type A personalities, we understand the advantage of listening and adapting. The best idea in the room always wins. By the way, Mama Yim, who the show is based on, knits. I do the Macy’s Parade every year on the Sesame Street float, and my little shoutout to her is wearing the scarf that she knit me that year.
Many recognize you as Alan from Sesame Street.
I’ve been a Sesame Street cast member and director for the past 27 years. It’s the greatest gig I could ever have. We get to both educate and entertain, reminding people about kindness, empathy, diversity, humanity. Because of our Muppet Julia, who has autism, I’ve had so many people with kids on the spectrum who thank me, because I’m paired with Julia a lot, and it makes me so happy. We try to have a place of inclusion for everybody on our show.
What is your favorite part about directing for young audiences?
Seeing a child’s honest reaction to theatre is probably the most riveting, because they will tell you right away if something is working or not. When I directed The Nice List at Bristol Riverside Theatre, we had a couple of performances for schools. I knew that for some of those kids, this was their first theatrical experience. You hope that a child takes the magic forward into their adult life.
What’s a recent moment that reminded you why you chose to do theatre?
The nightly response to The Nice List was amazing. It was written by Phoebe Kreutz and Gary Adler, and there’s something for the children, but also adult humor. It harkened back to my childhood: I grew up with Warner Brothers cartoons, where there were always two levels. On Sesame Street they did a Hunger Games parody where Peeta was played by a pita bread. A child wouldn’t necessarily understand the source material, but it was enjoyable on a completely different level. We hope that The Great Race does that as well.
What would your younger self think of you now?
I think my younger self would be pretty amazed at the journey I’ve had. I’ve worked really hard for it. I’ve been very lucky with opportunities. It’s almost a 40-year career in the performing arts. My first professional job was being a Kid of the Kingdom at Disney, singing and dancing in front of Cinderella’s castle. To go from there to where I am now is amazing.
What are you working on next?
I’ve been doing some of my best and most satisfying work in regional theatres, where it feels like there is artistic freedom. After The Great Race, I’m going back to Utah Shakespeare Festival to do Something Rotten! The great thing about regional theatre is, sure, you want to create something that audiences want to flock to, but it feels like there’s more creative expression. I’d love to continue that.
