Since working on my first play, Yellow Fever, in 1982, I have been deeply involved in Asian North American theatre. I use that label because most of my development and productions have been in the United States, and I have found such a similarity in the character and problems of Asian-Canadian and Asian-American theatre, that I have come to see both as part of a single theatrical phenomenon/movement. This movement is composed of playwrights, directors, actors et al. who are Asian North Americans and address themselves to the particular realities of that life experience. I use the term Asian to cover a broad territory, including Japanese, Chinese, Filipino and Korean, all of whom have to deal with the problem of being “visible minorities” in a predominantly Western European/North American culture. To a certain degree the problems are similar to those confronting Black and Native professionals, though neither of these has to deal with the foreign culture label. In this article I will chart the development of Yellow Fever and use my experience with that play to reflect on the state of the Asian North American Theatre Movement.