CHIL KONG began his directing career on a scholarship at the Boston Conservatory, where he studied Directing and Musical Theater. He left the program and traveled to the San Diego Repertory Theater, where he became a Directors In Residence and helped launch their international Arts program the Calafia Project. A few years later, he became the Artistic Director at the NWAAT in Seattle.
After a few successful years in Seattle, Mr. Kong was contacted by veteran actor, Soon Tek Oh, of James Bond Side Kick fame, to journey to Los Angeles and start a theater company. Both Mr. Kong and his Co-Artistic Directors and Co-Founders, Screenwriter Philip C. Chung felt the need to present stories beyond the LA Riots and develop new works that gave voice to a more edgy aesthetic, and Lodestone Theatre Ensemble was born.
The need to tell the stories of Asian Americans – who did not have accents, who did not talk only about ‘being’ Asian American, and who tackled uncomfortable subjects was an ambitious one, but the founders felt that there was a large demographic that was not being served by the offerings on the LA Theatre scene in the late 90’s. They looked for, and found writers, directors, actors, and production designers who were hungry to tell new and explosive stories.

Lodestone became the second largest Asian American theater company in Los Angeles. The fearless presentation of stories that ranged from brothers living in a trailer park, to rape and revenge, to established musicals like Maltby & Shire’s Closer Than Ever gave them a vibrant and lauded presence on the LA Theater scene.
It was the highly successful run of the original play, The Mikado Project, that made Mr. Kong turn his directing eye to film. With the backing of Executive Producer, Quan Phung of Scott Stuber Productions and John Carrozza of Velvet Candy Entertainment, the adaptation of the play that the LA Times had called “..solid entertainment of a charmingly wacky stripe ” began.
The Mikado Project, the film, broadens the scope of the play – which dealt mainly with the artistic merit of Asian Americans performing the chestnut operetta by Gilbert & Sullivan, vs the oftimes racist portrayals of the characters on stage by Caucasian performers. The film opens the viewer’s eye, not only to the eventual production of an “Asian American Mikado”, but to the trials and tribulations of a struggling theater company and it’s members.
Other projects Mr. Kong has directed include the pilot of SCREENING PARTY, based on the popular book by writer Dennis Hensley (Logo’s Big Gay Sketch Show, E’s Fashion Police). SCREENING PARTY was screened across the USA and Internationally in film festivals. SCREENING PARTY was optioned by the EMMY Winning Production Company, PICTURE THIS TV.
His short films, POLLEN, THE OH-MALLEY’S, and THE CHARLES KIM SHOW, have played in film festivals starring such talent as Alec Mapa (Ugly Betty) and Jodi Long (B’way Revival of Flower Drum Song, The Margaret Cho Show) among others. He is currently in development with Disney for a live action musical and Warner Bros for a Digital Featurette.
Maintaining his theater roots, Mr. Kong was a member of the LA Ovation Committee – the body that judges and produces the LA Theater Awards every year. He was appointed to the NEA’s Grant Review Panel, served as an adjunct professor of theater and digital media and video production at Cal Poly and is a proud member of NetKAL (VI) class of 2012.

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