Vaughan’s Theatre Ya Knowww is heading to downtown Toronto for their inaugural Pan-Asian Theatre Festival. Artistic Director Ethan Persyko took some time to answer my questions about the festival, why a festival like this is so important, and what audiences can expect from the festival’s programming.

1. Can you please introduce yourself to my readers and tell us a bit about your role with the Pan-Asian Theatre Festival?

My name is Ethan Persyko, and I’m the Artistic Director of Theatre Ya Knowww (TYK) as well as the Executive Producer of the Pan-Asian Theatre Festival. I’m a director, producer, educator, and community-based artist, and a lot of my work focuses on creating spaces where emerging artists can feel supported, take creative risks, and tell stories that matter to them.

With the Pan-Asian Theatre Festival, my role spans many areas, from helping shape the artistic vision and supporting artists throughout the process, to producing the festival itself and ensuring that community remains central to everything we do. I see the festival as more than a series of performances. It’s a space where artists can meet one another, exchange ideas, and build relationships that continue beyond these few days.

2. What was the inspiration behind the Pan-Asian Theatre Festival?

The inspiration came from recognizing both the abundance of talent within Asian artistic communities and the need for more intentional spaces where artists can create and share work on their own terms.

Toronto is one of the most diverse cities in the world, yet many artists still face barriers around access, visibility, and opportunity. We wanted to create something that celebrated the richness and complexity of Asian identities rather than reducing them to one narrative.

Something that really reinforced the need for this festival was TYK’s Community Pitch Program. As part of building our 2026 season, we invited artists to pitch projects directly to us, and we received a significant number of submissions from Asian artists with exciting, bold, and deeply personal ideas. That became a really exciting moment because it demonstrated not only the amount of talent that exists, but also the desire for spaces where these artists could bring their stories forward.

For myself and TYK, “Pan-Asian” isn’t about treating Asian identity as one singular experience. It’s about creating space for the many cultures, histories, languages, and lived experiences that exist within and across Asian communities. The festival became a way to celebrate those differences while building a stronger sense of artistic connection and community.  

3. Can you please tell us a bit about the shows involved in the Festival?

One thing I’m particularly excited about is that the festival presents a range of stories and artistic styles rather than trying to define one “Pan-Asian experience.”

Two of our featured productions, Flowers of Paradise by Aaiza Khan and In The Dark, We All Sound The Same by Faizan Bokhari, were selected through TYK’s Community Pitch Program, an initiative where artists pitch ideas that help shape TYK’s entire artistic season. The goal of that program is to invite the community directly into the artistic process and allow emerging voices to help determine what stories get told.

Flowers of Paradise by Aaiza Khan explores family, identity, and South Asian heritage through an intimate intergenerational story, while In The Dark, We All Sound The Same by Faizan Bokhari follows three strangers from different backgrounds who form unexpected connections while detained together in an immigration center.  

We also have I Loved You More Than I’d Ever Dare Tell You by Nicholas Pilapil, a Filipino reimagining of The Glass Menagerie that explores immigrant, queer, and intergenerational experiences. Alongside these works, we’re hosting a Monologue Slam that creates space for emerging performers to share their voices and connect with the broader community.  

What I love is that each project is completely different, but together they create a larger conversation around identity, belonging, and storytelling.

4. Why is a festival like this so important to the Toronto theatre scene right now?

Toronto is incredibly diverse, and our stages should continue striving to reflect that reality. While there has certainly been progress, there is still work to be done around representation, access, and who gets opportunities to lead and create. I can’t think of any other theatre right now in Toronto that is putting on an entire festival to celebrate Asian Heritage Month. 

I think festivals like this are important because they do more than showcase performances. They create ecosystems for artists. They allow emerging creators to be seen, connect with collaborators, and develop work in front of audiences.

At a time when many communities are searching for meaningful connection, theatre can become a space where people gather and engage with one another in real ways. The festival becomes not just an artistic event, but a community event.

5. What do you hope audiences take away from the Pan-Asian Theatre Festival?

I hope audiences leave feeling connected. I hope they laugh, reflect, feel challenged, and see something onstage that stays with them long after they leave the theatre.

I also hope audiences walk away with a broader understanding of what Pan-Asian storytelling can look like. There isn’t one story, one perspective, or one way of creating theatre.

More than anything, I hope people leave feeling energized by the artists around them. If audiences leave wanting to continue conversations, support emerging work, and stay engaged with these communities beyond the festival itself, then I think we’ve created something meaningful.

I want to thank Ethan for taking the time to answer my questions. The Pan-Asian Theatre Festival runs May 22 – 24 at Sweet Action Theatre. For more information and tickets, visit: https://www.eventbrite.ca/e/tyk-pan-asian-theatre-festival-may-22-24-tickets-1988836364103?aff=oddtdtcreator

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