Paul, where he serves as Co-Artistic Director and continues to expand his artistic horizons with Full Circle's mission of multiracial theater focusing on equity, diversity, and inclusion.

The Pan Asian Repertory Theatre produced several of his plays, including a prequel to Yellow Fever titled Rosie's Cafe and a sequel, Once is Never Enough, co-authored with Marc Hayashi and Lane Kiyomi Nishikawa.

Shiomi works almost entirely behind the scenes, or behind a taiko drum, but with the play The Tale of the Dancing Crane, he took center stage as an actor.

In 2002, he co-authored Hmong Tiger Tales with Cha Yang, which was co-produced at the Weyerhaueser Auditorium by Mu Performing Arts and St. Paul's Steppingstone Theatre For Youth.

While in Minnesota as a visiting lecturer, Shiomi found an emerging Asian American community and a well-developed general theater scene.

He also oversaw the development of many actors such as Eric Sharp,  Sherwin Resurreccion, Katie Bradley, Sara Ochas and Kurt Kwan who now work regularly at theaters in the Twin Cities.

Shiomi began to develop his unique directorial approach during his first decade as artistic director of Mu Performing Arts when he directed several new, experimental works derived from deep personal narratives of the Asian American experience that were combined with traditional dance, music, or theater methods from related root Asian cultures.

He used this unique directing approach with such original works as Mask Dance (1993), combining personal stories of Korean adoptees in America with traditional Korean mask dance; or in Song of the Pipa (2000), combining master Chinese pipa player Gao Hong's wrenching immigrant story with her magnificent live performance as a musician.

This began in 2006 with his acclaimed re-envisioning of Shakespeare's A Midsummer Night’s Dream set in 19th Century Japan and featuring a mostly Asian American cast.

In 2012 he directed Sondheim's musical Into The Woods setting it in Japanese, Korean, Hmong, and Filipino magical folk tale worlds.

In 2013 he directed a revolutionary version of Gilbert and Sullivan's The Mikado (co-produced by Skylark Opera), setting it in Edwardian England instead of Japan, and casting Asian American actors (as English men/women) in most of the lead roles, turning the racist depiction of Japanese on its head and receiving national coverage.

In 2017 he co-directed 365 Days/365 Plays by Suzan Lori Parks for Full Circle, which received year-end accolades from several media reviewers.

Under his leadership, Mu Daiko evolved into a regular troupe, performing one mainstage production a season, and over the years developed an extensive outreach and educational program with over a hundred engagements annually.

As artistic director of Mu Performing Arts, Shiomi oversaw the development of new plays including Ching Chong Chinaman by Lauren Yee, Cowboy Versus Samurai by Michael Golamco, Happy Valley by Aurorae Khoo, Bahala Na by Clarence Coo, Asiamesia by Sun Mee Chomet, and WTF by Katie Ka Vang.

In this anthology of new plays by Asian American playwrights, Mu Performing Arts developed and produced the world premiere of six of the seven featured.

2017 Philadelphia Barrymore Award Recommendation, Stage Director For You For Me For You, by Mia Chung 2017 Western Literary Association, Distinguished Achievement Award 2016 Doris Duke Charitable Foundation, Building Demand For The Arts, Implementation Round Grant To develop Asian American theater artists and audiences in Philadelphia.

[4][better source needed] After graduation he continued his education in British Columbia, receiving a teaching diploma from Simon Fraser University.

He then went on to travel the world, teaching in Japan and Hong Kong for one year before returning home to Canada where he became a prominent member of the Japanese Canadian community.

He also edited a film titled The First 100 Years which was based on a slide show, and designed to teach children about Japanese Canadian history.