"Complex, personal, beautifully executed" - Theatrereview for Tide Waits For No Man

 Nikita Tu-Bryant

Nikita Tu-Bryant

Tide Waits For No Man opened to a packed Wellington audience for a PAT first!

Thanks to Tim Stevenson from Theatereview for our first review of the season, running til Saturday 8th.

Check it out here or below!

Tickets here


Review by Tim Stevenson

Complex, personal, beautifully executed and drawing on a rich and diverse palette, Tide Waits for No Man: Episode Grace presents a narrative about a young Taiwanese artist raised in Aotearoa grappling with the conflicting calls of love, self-realisation and traditional cultural imperatives. 

The conflicts which Grace (Nikita 雅涵 Tu-Bryant) must deal with are brought to a head by the death of her Ye-ye*, a patriarchal figure who will appear throughout the show in different guises - benign and protective, overbearing and hostile, even aggressive. We can guess that Grace’s Ye-ye also personifies the rule makers who lay down the expectations for women - ‘Clean’, ‘Silent’, ‘Calm’ - which break up the narrative into sections.

The complexity of the culture or cultures within which Grace is trying to live and grow is also mirrored in what we see on stage. What appear to be traditional Taiwanese/ Chinese elements come to the fore here, including the white costumes of the two mourners (Chye-Ling Huang, Marianne Infante) who also appear as part of the narrative, and the figure of Ye-ye himself. However, we are also shown contemporary/ traditional and old/ young divisions, and the show’s conclusion is expressed in part by Grace dressing in an outfit that integrates all elements.


Tide Waits for No Man: Episode Grace uses a variety of theatrical modes to deliver its narrative, and it stands out for its inventive use of different forms of dance and movement, shadow puppets and three-dimensional puppets in combination. This approach means that the action on stage is constantly shifting in mode and also location, which makes for a more varied vocabulary but also places particular demands on the performers. It’s a triumph of this production that the different modes are woven together so seamlessly and skilfully.

This is a striking-looking show which demonstrates a keen sense of visual impact. The bridge / path projected on the backdrop in particular – like an image from a traditional Chinese silk painting – is both dramatically effective and beautiful. The first appearance of Ye-ye on stage (as opposed to on the backdrop) is a highlight.

The production has a very strong cast who have obviously worked hard and closely together to create a unified narrative out of so many moving parts.

Tu-Bryant’s performance is a tour de force: powerful, flexible, committed, expressive.

Huang and Infante display skill and versatility in their dual roles as mourner and puppeteer. Infante has also done the choreography, drawing on an impressive and eloquent range of styles.

Variety and cultural diversity are also a feature of the highly effective sound effects and musical accompaniment, designed by the versatile Tu-Bryant. 

 Nikita Tu-Bryant, Chye-Ling Huang and Marianne Infante

Nikita Tu-Bryant, Chye-Ling Huang and Marianne Infante

The sound and lighting operators (Nic Cave-Lynch, lighting; Wendy Collings, sound) deserve the enthusiastic applause they receive at the end. A production like this, which switches modes so frequently, relies on technical effects being delivered dead on cue every time, and Cave-Lynch and Collings never drop a stitch. 
 - - - - - - - - - - |
*Google translates ‘Ye-ye’ as ‘grandpa’ in Mandarin. Your reviewer notes that Google doesn’t always get translations right and apologises for any offence given. 

Photo Credit: Kenneth Chapman

Mother tongues - Nikita Tu-Bryant's take on a bilingual upbringing

“How do you cross barriers, when words don’t exist in the other tongue?”

Artist, performer and first time director Nikita Tu-Bryant shares her story ahead of her debut non-dialogue show, Tide Waits For No man.


Mandarin-Chinese was my mother tongue, and soon after English followed.
Growing up in a Taiwanese/Pakeha household, I witnessed the constant frustrations of trying to communicate clearly though English and Chinese translations.

It is hard enough communicating well with a common language. How do you cross barriers, when words don’t exist in the other tongue?

Recent years have seen me collaborate with many non-english speaking Asian Artists in Japan. There, we would have month-long workshops to create a full-length theatre piece, with our different Artistic skills combined - and no words.

This experience instilled hope in me, that despite cultural and language barriers, if given the space and time, we can all learn to communicate and connect with one another.


Before captions for TV or film existed, I have memories of stop-starting English films and explaining the storyline to my mother. A decade later she is using words I don’t even know existed, but my habit of explaining storylines have remained - much to the annoyance of those who watch films with me.

My mother is the compass I have followed making this show. And though her English is well-beyond now, this is dedicated to all the mothers who are just beginning that journey.

Photos by Ankita Singh

Tide Waits For No Man performs at BATS Dec 4th - 8th.

Book here

Lights, Camera, Asians - NZCTA young associates forum

“Regardless of if we intend it, everything we create is political. The best thing we can do is to tell our stories truthfully and boldly and from the heart.”

The New Zealand China Trade Association hosted a forum for those keen to hear about how the everyday person can help ensure realistic representation of Asians in New Zealand media, and to see what young filmmakers are creating to represent themselves in NZ.

 Nathan Joe, Chye-Ling Huang and Calvin Sang

Nathan Joe, Chye-Ling Huang and Calvin Sang

 Calvin Sang and Mayen Mehta

Calvin Sang and Mayen Mehta

NZCTA Young Associates and Future Dragonz hosted panel discussion event "Lights, Camera, Asians!”, engaging in conversation with speakers Calvin Sang, Chye-Ling Huang, Mayen Mehta Nathan Joe and screening ‘The Han Chronicles’ and ‘Asian Men Talk About Sex’.


Thank you to

the University of Auckland,

NZCTA Young associates

and Future Dragonz

CALLING ASIAN WRITERS! 2019 Fresh off the Page writers opportunity announced

A year of risk taking, creation and rising to the challenge

 PINAY by Marianne Infante, the first FOTP commission in 2018

PINAY by Marianne Infante, the first FOTP commission in 2018

Proudly Asian Theatre is calling new, emerging and established Asian writers to submit your play ideas for our Fresh off the Page series in 2019!

Fresh off the Page launched in 2016 as an event to showcase Asian scripts, actors and directors in Aotearoa. For free and monthly at The Basement theatre, we pair emerging talent with experienced practitioners to connect, challenge and network, and put on a great night to celebrate  Asian work.

In 2019 we are dedicating the year to writers. Our ambitious programme will consist of 9 new theatre works - written by you!

Whether you have never written a script before, have a half finished idea or a dusty draft from years ago, we want to hear from you.

Chosen writers will be given a deadline to complete their play by (negotiated with writers), receive ongoing mentorship to complete the draft, and will have their script read aloud at public event Fresh off the Page with a team of actors and professional directors. Following the event, each writer will also receive a script assessment session with a dramaturg from Playmarket. 

Submit your idea, in whatever shape it’s in! Please include a short synopsis, a paragraph about why you want to make this work, your preferred month and your contact details.

Deadline for submissions: 

Due to a mis-print, our facebook release indicates deadlines were due on December 1st. We are happy to receive submissions for those who were misled on December 8th. Cheers!

Send to:


Proudly Supported by Playmarket

"I had to do it ready or not - you can't be afraid." - STUFF interview with Nikita Tu-Bryant

Thanks STUFF for the great interview!

Catch Tide Waits For No Man here!

Debut director explores cultural and identity

Matthew Tso for Stuff.co.nz

 Photo: Ankita Singh

Photo: Ankita Singh

Grace director Nikita Tu-Bryant says the production explores a woman's grapple to reconcile different values from different parts of her life. The production also features Chye-Ling Huang and Marianne Infante.

Nikita Tu-Bryant's first foray into theatre directing started with a song.

Tide Waits for No Man: Grace comes five years after the Wellington based musician wrote and recorded a song about feelings she experienced following the death of a family member.

Tu-Bryant says the semi-autobiographical story explores cultural patriarchy and follows a Taiwanese-Kiwi, Grace, who grapples with her Yè-Ye's (Mandarin for grandfather) teachings in the face of her life in modern New Zealand.

While the story draws on distinctly Asian references, she believes it will strike a chord with a much wider audience.

People naturally discovered and adopted different values as their social circles expanded outside the family environment. Reconciling often conflicting sets of beliefs was not unique to any one set of people, Tu-Bryant said.

"It's a story about how we marry who we've become with where we've come from."

Tu-Bryant was relieved to be getting the production underway after years of writing and conceptualising the latest iteration of the story.

"Considering the time between the death of my family member and now ... with my music projects, I'm a real doer - I go out and do it straight away. 

 Photo: Hayden Weal

Photo: Hayden Weal

"I turned 30 this year and had been writing for four years. I just knew as every year passed, I'd get more anxious. [Like the title says] 'Tide waits for no man,' I had to do it ready or not - you can't be afraid."

Working with the Auckland-based Proudly Asian Theatre, the production is being performed at Bats Theatre in Wellington in December.

It is the first of what Tu-Bryant hopes will be five instalments chronicling the grandfather's personality though the experience of different members of his family.

The production is "non-verbal" and will rely on choreographed movement, and shadow and object puppetry set to a backdrop of Tu-Bryant's music.

She did not want language to be a barrier for her audience. She wanted people like her mother, for whom English was her second language, to be able to understand the story. 

Tu-Bryant will be performing alongside Proudly Asian Theatre co-founders Chye-Ling Huang and Marianne Infante.

 Tide Waits for No Man: Grace will be performed at Bats Theatre, 1 Kent Tce, Mount Victoria, Wellington, from December 4-8. Tickets are available from the Bats website.

Beyond the D-word - The Future of Asian Representation discussed

Diversity is hot - but now what?

“A panel on diversity is like a panel on world peace. It should be seeking a time when we no longer need such panels. It should be a panel actively working towards its own irrelevance. The fact that we’re still having them not only means that we continue to fail, but the false sense of accomplishment in simply having one is deceiving us into thinking that something was tried.” - Marlon James

PAT and Basement attempted to answer the question at Basement Theatre at their regular event Unseen: Unsaid. A future focused discussion prompted by Basement’s 10 year anniversary kicked off talking about Asian representation across the industry - how far we've come and what we can do now to move forward. OG Asians and millennial practitioners just hitting their stride chatted with non-Asian people in positions of casting to find out where the blocks are and how we can remove them together. 



Hweiling Ow

Ahi Karunaharan

Amanda Rees

Ankita Singh

Roseanne Liang

and host, Julie Zhu

Check out some of Julie’s notes and quotes from the evening to kick off your own discussion!

Being confined to the diversity brand

“Why do our published works tend to rehash the same handful of themes and, in particular, the theme of inter-generational conflict set against the backdrop of culture clash? The answer is, in part, connected to the commodification of literature, whereby the writing of an ethnic group becomes a genre (like chick-lit, detective fiction, thriller), and its writers find themselves constrained within the bounds of a brand – a formulaic and ultimately oppressive expectation.” - Kavita Bhanot

- The current trope in many Asian diaspora storytelling is about our relationship to assimilation, to whiteness. Has that become a trope that we are over now? Or do we need to keep rehashing new and alternative interpretations of it?

- It also still centres white people, therefore making them more comfortable or feeling relevant?

Privileged assimilated voices, who gets to speak and be represented?

“To focus only on numbers, to talk only about the need for a greater ‘diversity’ of writers in terms of background, is a limited and misleading approach. The real problem is not simply a monoculture but a mono-ideology, a mono-perspective.” - Kavita Bhanot


- Westernised, educated, middle-class voices with believable NZ accents are promoted above others.

- Chinese and East Asian privilege within 'Asian' spaces.

- Assimilation and the model minority, we are always striving to not be like ‘them’, we’re Asian but not Asian Asian, distancing ourselves from our more overtly Other parents perhaps, so that we can more easily and confidently and stealthily fit into mainstream white spaces.

- CRA described as essentially a white story but happens to be played by Asian people and that that is great. Is that the highest goal we want to strive for?

Academia and the elitism of the diversity conversation

Who is left out of the diversity conversation? Who does not even have the language to talk about these issues? E.g. older generations not exposed to this type of discourse, those too busy trying to survive to be able to indulge in learning discourse.

Criticism and the precariousness of criticism

Where is the room for criticism of work in our own communities? If there is so little room for success, for representation, must we be grateful and celebrate every small morsel we are thrown?

Representation and that desire to see ourselves represented, where is the room for systemic change, not seeing the word for the trees

At the moment the conversation around diversity still centres white people as the sun which we all revolve around. Diversity upholds white supremacy, how do we dismantle that? Can we?

- Ghassan Hage talks about diversity being like a multicultural fair where all the stalls of migrant cultures are neatly on display to be consumed by white people, it is there to serve their enrichment. How do we ensure our interactions with other groups who are not our own are not tokenistic? How do we create authentic relationships?

- Why are we still fighting to be part of the mainstream, are we upholding white supremacy by constantly asking to be let into the system and structure that continues to oppress us, what does decolonisation mean to you?

- Systemic change versus individual change. (Individual change looks like one of us getting funding.)

“I realised our differences are to be celebrated. And where you come from, your culture and its history, are incredibly important." Nikita Tu-Bryant talks to STUFF

Embracing the ‘uncool’ - Nikita Tu-Bryant is taking back her roots through performance

Following the launch of Tide Waits for No Man, creative and theatre maker Nikita Tu-Bryant talks to STUFF about her musical journey as a Taiwanese kiwi.

Read the full interview below or follow the link here!

 Nikita performing in her band FLITE.

Nikita performing in her band FLITE.

'Made in Taiwan' may be a label attached to most electronics but it's also a phrase one Wellington performing artist proudly associates with.

Nikita Tu-Bryant's melodious voice has a haunting timbre akin to Kiwi chart topper Bic Runga and acoustics which have heads swaying . She's heading south for three intimate shows, including a stop in Golden Bay with Christchurch based singer-songwriter, Monique Aiken.

Tu-Bryant's main aim with her music is to make people "feel", she said.

"People will interpret your music through whatever lens or experience that are going through at the time.  A song about travelling, could be interpreted as a break-up song.  I believe feeling all feelings are important, be it sadness or joy."

Tu-Bryant's most recent single release was with her band 'Flite', producing music she described as an "atmospheric-funk/electro-pop hybrid". She has also released an album and EP with folk band, Spooky, while producing music as a solo artist.

Born in Taiwan and raised in Auckland by her Kiwi dad and Taiwanese mum, Tu-Bryant has been immersed in everything music since she was five-years-old when she began playing the violin. She said being a "little Asian kid wanting to fit in", she couldn't relate to the violin's classical music. 

"It was, to me at the time, very uncool."

At 12-years-old, her father bought her a guitar which brought with it the inspiration to write songs.

 Nikita performing with FLITE.

Nikita performing with FLITE.

"It was the cool thing I got to do growing up in a pretty strict environment."

From there, her thirst for performing grew. The guitar allowed her to play in shows and at 16, she was playing in bars, followed closely behind by her parents. It later led her to study music in Wellington. Tu-Bryant struggled with her cultural diversity growing up, wanting to be more like her "white friends", but she said, now she embraced her oriental background.

"It wasn't until my twenties that I started using my Mandarin-Chinese name in my performing life (雅涵 - pronounced Ya-Han), and it wasn't until then that I started to show interest in music from the Orient.

"I realised our differences are to be celebrated. And where you come from, your culture and its history, are incredibly important." 

Tu-Bryant is taking her music back on the road after a four-year break, but those years weren't spent far from her passion - collaborating and performing with other artists while travelling overseas.

This time her travels are taking her closer to home and with one of her biggest inspirations and supporters in tow - her dad. 

"He's responsible for all the good music I used to listen to as a teen."

She said people who go to her shows should expect an "intimate event" and talking between songs. And when she's not performing her music, she's taking her talents to the theatre. Tu-Bryant has an upcoming debut show which she wrote, directed and is acting in called, Tide Waits for No Man: Episode Grace. 

"I call myself a performing artist because I tend to do everything. I write music, I write stories, I write poetry, I act, I paint ..."

And in between her creative projects, she takes to the sea to surf.

Get tickets to Tide Waits for no Man here:


PAT Chats: PINAY Playwright Marianne Infante

”I want people to feel love, to be hurt, uplifted and inspired.”

Marianne Infante is on the edge of the new - the first bilingual Filipino play to be written in New Zealand, and her first full length work. PAT’s challenge to write for Fresh off the Page is part of a new initiative to support Asian writers to create new works and step outside their creative fields.

Marianne, who began as PAT’s producer for Fresh off the Page, is a proud Filipino who moved to Christchurch at age 11, before moving to Auckland in 2014. Marianne gained a Bachelor of Performing and Screen Arts degree graduating from Unitec in 2016 and has since multiplied her skills in the creative industry. Her theatre experiences include the Auckland Summer Shakespeare 2017's As You Like It, Emotional Creature (The Others Club) and Rumination (Simple Truth Theatre). As a stage manager she worked on BOYS with Auckland Theatre Company and TEMPO Dance Festival in 2017/2018.


PAT sat down with Marianne to talk about her experience before unleashing PINAY on the world.

Catch PINAY October 17th at The Basement Studio, 8.30pm!

What inspired you to write this play?

I don’t think I can pin it to one inspiration. Many things inspired and motivated me to write this play. It’s been brewing for 2 years and then when all the WHY-DO-I-WANT-TO-WRITE-THIS reasons stacked up together, I got to a point this year when I knew I just HAD to get it out of my chest. Those reasons being: personal lessons and conflicts, appreciation for my culture, for my family, my parents hard-work and love, PAT fighting for representation, sheer lack of Filipino voice in all sector of NZ Arts community, and the fact that I knew I had a genuine story I was so passionate to share and communicate.


What were the challenges you faced during the process?

Expressing and forming feelings into words, specifically scenarios that are so close to home. Writing out the pains and mistakes and fully realising those on the pages of my script; I avoided writing the hardest scenes till I just knew I had to, to finish the script. Another challenge for me was trusting myself as a writer. Trusting myself that the truth and story I have to share mattered.

What do you think makes a good story?

A story of truths. A story that explores the ugly and the complex. A story that activates the space and the people within it and engages people to think, question, maybe challenge and wonder.

How do you want people to feel at the end of your play?

I want people to feel love, to be hurt, uplifted and inspired by it. I want people to feel and understand one’s *malasakit at pagmamahal sa kapwa’t pamilya*

*Loose translation- selflessness/sacrifice/devotion/concern and love for fellow people and family.

‘Who’ did you write your play for?

I wrote this for any young adult who is having to; re-identify with themselves, dissect their multi-layered culture and re-evaluate the real importance and value of ‘love’ and ‘family’. I wrote this for the person I was last year and the year before.

What character was the easiest to write?

Mama. I have so much gratitude for her complexities and immense capability to love that I really enjoyed exploring her energy and essence.

Can you explain the ‘theatrical’ ideas/concepts utilized in the play that you describe?

I wanted to explore and stretch my story past dialogue and I have delved into movement, sound and music. Featuring my awe for Kapa Haka, Tinikling and love for Filipinos karaoke culture. Movement gives me the freedom to express what words can’t hold and moulds together the 3 different languages the character Alex engages with; English, Tagalog and Te Reo. It’s hard to fully translate from one language to another and to actually keep the essence and actual definition of the word just like the word ‘malasakit’ in the question above.  Regarding the musicality of the piece, for me music and singing is used when the emotions being communicated surpasses the dialogue; speaking no longer suffices.

Life is Easy - new series focussed on Asian and gay characters funded

“They thought they were woke…until they woke up in each other’s bodies.”

 Chye-Ling Huang, Cole Jenkins and Ruby Reihana Wilson

Chye-Ling Huang, Cole Jenkins and Ruby Reihana Wilson

Congratulations to Chye-Ling Huang and Cole Jenkins, who are part of a series of new funded shows that push the boundaries of storytelling in 2019. Life is Easy, written by Chye-Ling and Cole, will feature an conclusive cast and crew of POC and diverse sexualities.

The media release from funding body NZ ON Air released the good news this week, saying:

Life Is Easy, comes from the TVNZ New Blood initiative to support new storytellers. This body-swap comedy/drama series explores ideas of race, privilege and sexuality and is aimed at millennials. The lead characters are an Asian female and a gay male, bringing more diversity to our screens.

Writers Cole Jenkins and Chye-Ling Huang say they created the work to talk about race, sexuality and gender in a light hearted way. “In a nutshell, she’s Chinese, straight and female; he’s white, gay and male. Though they always thought they shared everything, their ideas about race, privilege and sexuality are challenged as they find themselves living each other’s lives with no way to escape.”

8 15minute episodes are expected to come out in late 2019.

Read the full release here!

"Orientation is a hugely significant work: sexy, smart, and not putting up with your shit." - New reviews!

"This play could not have cared less about perfectly crafted impeccable representations. On the contrary, the use of cultural symbols is trivial and bleak, seeking to blow mono-dimensional representations into pieces.” - Hainamana


Thanks to Theatrescenes, Hainamana and Appetite for the Arts for their sizzling reviews of Orientation. Check em out below!





Appetite for the Arts


Orientation is on for two more nights at Q Theatre. Don’t miss it!

"Brash, sensual work a landmark for NZ stage" - two reviews for Orientation

"In the words of Orientation’s Thomas Pang, Asians are like vampires, their representations are never reflected in the media. However with the increasing visibility of Asian representation in the media right now, aided by projects such as Orientation, there really is no better time than now that you should be proud to be Asian."

 Kyle Chuen in Orientation

Kyle Chuen in Orientation

Thank to the NZ Herald and Craccum for the first killer reviews of Orientation!

Check them out here:

NZ Herald


Orientation is on this week until September 15th at Q Theatre.


Kickarts podcast - a poet, a playwright and a musician talk process and presentation

'We don't have to fight the fight, we're just telling a story” 

 Dan Goodwin, Zoe Larsen Cumming, Chye-Ling Huang and host Richard Green

Dan Goodwin, Zoe Larsen Cumming, Chye-Ling Huang and host Richard Green

Musician and actor Zoe Larsen Cumming, poet and playwright Dan Goodwin and PAT's Chye-Ling Huang chat with Richard Green from Kickarts podcast about their art-making inspirations and process. Have a listen to the arty gossip here!



"You can’t expect every person of colour to be your spiritual guide." - VICE interview with Chye-Ling Huang

VICE chatted to Chye-Ling Huang about creating Orientation, a bombastic show about sex, race and love. 

Check out the full interview here or below!

Kiwi Playwright Chye-Ling Huang Lets Her Asian Characters Be Problematic

Chye-Ling Huang wants you to think about Asians and sex. Or, more accurately, to think about how you think about Asians and sex. The writer and director, whose documentary Asian Men Talk About Sex confronted sexual stereotypes surrounding Asian men, was sitting over a pot of tea in the lobby of Q Theatre, where her latest play, Orientation, opens tonight. It follows Mei, a Chinese-Pākehā woman, as she embarks on a psychosexual journey to deconstruct her sexual-racial prejudices. “To do this and to find love, she sets out on a quest to bang as many Asian men as she can to get a new perspective,” Huang says.

 Natasha Daniel and Eugene Yao in Orientation

Natasha Daniel and Eugene Yao in Orientation

Huang was full of opening-night energy as she talked about the play, her nerves about the reactions it might provoke, and broader observations on the state of Asian representation in contemporary culture. And whether, as the play’s tagline asks, it's possible to root yourself back to your roots.

VICE: Hi Chye-Ling. Does Mei’s journey have resonance with your own? 
Chye-Ling Huang: Mei is like a villainess version of myself, like an extremely problematic past version of me. Kind of mashed together with extremely problematic people that I encountered at the time. These two factors coming together creates this lovely mash of an extremely flawed character. There’s definitely a large element of truth in the show, in terms of my experience of moving through the world. A more fun, un-woke version of me.

You’ve spoken before about how Pākehā audiences might find this play confronting. 
I realised what I’d been doing to mitigate that, and to try and make non-Asian people feel comfortable enough to come to the show. Like, man, I’m doing so much work around this, when has Auckland Theatre Company ever like reached out to me and been like, ‘Hey I know we’re doing a show that’s like a white American classic with like no people of colour in it, but it’s safe for you to come, you’re not going to be attacked and just because there’s no [people of colour] in it doesn’t mean we’re anti-people of colour’? No one has ever done that work for me as an audience member, so why I am trying so hard for white people especially?


It’s not enough for me to just exist as an artist and make work, it’s kind of like I’m constantly reminded of all those other political layers, like who I am as a person, my identity is political. Anything I do is like a ‘move’, as opposed to just existing as an artist.

But in the show Mei is also really flawed?
When people are writing for characters of colour, they want to get it right and they don’t want to offend, so obviously they’re going to be writing these characters that are often kind of like the benchmark of racial awareness and social awareness around race. But that’s so often not the case. When you’re the only person of colour in a room you’re supposed to be that person, and you feel the pressure to carry the flag and be the example for all the white people. But I mean we’re all on our own journeys and 90 percent of the time I have no idea what’s right or wrong, it’s just opinion. There are so many problematic attitudes—heaps of internalised racism and just socialised bullshit that you can’t expect every person of colour to be your spiritual guide in the realm of how to act or think or do in dating, or any aspect of life really. And we don’t get the freedom to be messy and problematic because we’re fighting against so much already that if you’re not there, you’re just fucked. It’s just hard.

Is this work a continuation of your earlier work on Asian sexuality?
Asian Men Talk About Sex presented more questions than it did answers really… It came down to three minutes. We kind of have plans to make more of that project, but definitely a lot of it informed this work.

How so?
Often Asian narratives can get condensed down to one thing or two things, the accepted or the understood narrative that often white people are perpetrating and it’s easy to tell those stories based on tropes and stereotypes. Asian Men Talk About Sex was very much an ensemble piece to try and show the diversity within diversity, so I used the same structure for the play.

Are you aiming to do the same things for Asian women in this play?
I think that’s a part of the play that I don’t actually think about a lot. But it’s inherent in the structure of it. Mei is on a mission to tap'n'gap as many people as possible, but it’s never really part of the discussion of the way she’s going about what she’s doing. She’s using sex as a vessel for her learning, essentially. It’s never really deconstructed, it just is, which I think is quite powerful when you just do something without commenting on how different or how interesting it is. That’s my life, that’s how I operate. I’m very in control of my own sexual life and open about my sexuality so I guess in that way it’s the part of it I question the least. I’m in a polyamourous open relationship. I’m also pansexual so, like, just everything.


Why was it important to have an all-Asian cast?
When I’ve worked with all-Asian casts in the past something happened in that process that I was super mind-blown by. It was like an invisible wall disappeared and we were on the same page. Even though we were all children of diaspora in different ways—a South African Indian guy, a Singaporean dude, a Taiwanese Kiwi and then me, Pākehā-Chinese—all from different levels of assimilation and backgrounds but we all had that diaspora Asian-ness in common and it just made the work so easy to slip into. There’s no sense of apology to anything you’re doing in the room. In this piece, unearthing things around sex and stereotypes and how those exist together, it’s a very personal realm to dive into to confront your own internalised racism around sex and dating and to confront the way people have been treating you. It’s not really what you want to be doing, scanning over the past week how many sexualised comments have been thrown at me because of my Asian-ness, or not, vice versa, with men—how many dates I got turned down for because I’m Asian. It just makes it a safer space to have an all-Asian cast and I knew that if we had a white person in the room it would be hard for them and it’d be hard for us.

Much has been made of Crazy Rich Asians as a turning point in Asian representation in popular culture. Does it feel like that? 
Over the past five years running Proudly Asian Theatre I’ve definitely seen a rise in Asian works that weren’t just me. When I came out into the industry, honestly I could look at the New Zealand works that were on display and just see nothing. There was just nothing that wasn’t problematic. Since then I’ve definitely seen a rise, and it’s definitely our generation. No one is changing at the top level. I do think it is getting better but I don’t think it’s happening as fast as maybe Crazy Rich Asians is suggesting.

Would the next step be casting more Asians in roles where their Asian-ness isn’t necessarily the point of their inclusion?
I live in a Facebook bubble, you know. Like everyone I’m friends with are liberal arts people and then I just see on my timeline popping up another web series with an all-white cast, another web series with an all-white cast, another theatre show with an all-white cast. If you know me, why does this not matter to you? You’re the right demographic to care about this right now, but outside of that, personally, you know me. And you know that I have a database of like hundreds of Asian people waiting for these opportunities. Like, where are you? It’s so gutting. That’s another big veil-lift moment. Just because white people are your friends, it doesn’t mean they care or they get it or that they are true allies in the sense that what they do matters. I just want to shake all my white friends, like do better: you know me, and you have no excuse.

And finally, is it possible to root yourself back to your roots?
I don’t know. It’s a really funny question that I’ve never considered seriously until now. Um, I would say no. I would say no, but it might help.

Orientation, the third work in Q Theatre's MATCHBOX 2018 season, opens tonight at Q's Loft and runs until September 15.

This interview has been edited for clarity and length.


Loose Cannons feature with Chye-Ling Huang

"The reason I make work with Asian casts is to continue giving myself and others their Mulan moment."

Check out theatre maker Chye-Ling Huang's feature in Loose Cannons, Pantograph Punch's feature on artists and what drives them. Read more here or below!

Loose Canons: Chye-Ling Huang

By Chye-Ling Huang

Loose Canons is a series in which we invite artists we love to share five things that have informed their work. Meet the rest of our Loose Canons here.

18 06 16 ORIENTATIONS BTS-8564 (1).jpg

Chye-Ling Huang is a Chinese-Pākehā director, writer and actress, and co-founder (in 2013 with James Roque) of Proudly Asian Theatre Company (PAT), which is dedicated to showcasing and empowering Asian storytellers in Aotearoa New Zealand. PAT’s productions include LanternRoots, the New Zealand premiere of FOB, and her own original scripts Call of the Sparrows and Orientation ­– the latter of which she is also directing for a season at Q Theatre (5-15 September).

Chye-Ling is the director of Asian Men Talk About Sex, a Loading Docs short documentary, as well as Like Sex, Nathan Joe’s award-winning B425 play. Through PAT, she runs a series of monthly play readings called Fresh off the Page which showcases Asian scripts, directors and actors, and provides mentorship with the NZ Film Commission.

Chye-Ling created The Han Chronicles, a two-episode TVNZ webseries based on her immigrant father in 70s New Zealand, and continues to work as an actor in theatre and film. Her recent acting credits include Te Waka HuiaWar Stories and Ao-terror-oa’s Road Trip.


 Disney's Mulan

Disney's Mulan


I was nine years old when Mulan graced us with her gender-bending presence. Mulan was the first Asian woman I’d ever seen on screen. She spoke English, she wasn’t a damsel in distress, and I was in love. I think Mulan counts for 80 percent of my personality and informs at least 50 percent of my artistic choices. I played with a Mulan figurine from McDonalds with my sisters for years, which is probably why I’m into puppetry. Mulan allowed me to embrace being a tomboy, made me love being Chinese and probably turned me gay. There’s a lot of Mulan in everything I am and do. Representation matters. It matters that she was my true heroine for way too many years. I should have had more options than Mulan, more characters I could connect with who reflected how I looked and who my family was. The reason I make work with Asian casts is to continue giving myself and others their Mulan moment.

 Poster for Like Sex by Nathan joe, which Chye-Ling directed

Poster for Like Sex by Nathan joe, which Chye-Ling directed


Weirdly, my first work was devoid of sex or relationships. It was a deliberate play-against, as I had a female protagonist and didn’t want the thematic waters muddied. But since, I’ve directed and created works mostly about sex and sexual politics. I’m in an non-monogamous relationship and I’m pansexual. I get to connect with and see perspectives from multiple people from many backgrounds, genders, expressions. I’m fascinated with how sex is used and how we are used by it, and especially how the New Zealand psyche makes us prudish but clueless at the same time. Taboos around sex exist in both my cultures, Kiwi and Chinese. There’s a lot to deal with if you’re a Chinese Kiwi woman who likes sex, and the politics of sex are endlessly interesting to me.



James Roque and PAT

James Roque was in my very first audition for drama school in 2008. We both share the middle child syndrome, crammed in a bunch of three sisters. We both liked lame jokes and dumb gags. We both equally annoyed and inspired each other. And we were both the Asian kids in the class – along with Saraid De Silva and Jason Wu. We formed PAT to survive when there was no apparent career path for two Asian actors graduating drama school. We kept PAT going when we realised that this was bigger than us, and that our community was our biggest strength. I’m constantly inspired and humbled by the Asian theatre and film community and its resilience, generosity and downright talent. James is becoming famous as a comedian, and I’ve taken leadership of PAT now, but we still tight as bros that made something beautiful together that we could never have made happen alone.


 0501 by The Finger Players

0501 by The Finger Players

Singaporean theatre

When I was 19 I saw a show called Temple, by the Singaporean company Cake Theatrical Productions. It had punk rock, a live band of school kids that swarmed onto the stage, and the most terrifying SFX and projection I’ve ever seen. Having been back to Singapore and worked with The Finger Players, the coolest contemporary puppetry-based theatre company, I felt a strange sense of belonging. Asian actors performing in English and sometimes Malay and Chinese, surtitles (subtitles in the theatre) on everything, and puppetry and wild dramatic themes playing out within an hour felt like the Eastern and Western elements of my influences combining seamlessly in front of me. Though we are worlds apart there is a huge affinity with Singapore that I found as a diaspora Chinese maker. And simply seeing Asian faces for the first time on stage as full casts and layered characters was enough to make me enamored with Singaporean theatre forever. My fav plays of theirs are The Book of Living and DyingPoop!Roots and Furthest North Deepest South.  

 Left: Still from The Han Chronicles, Chye-Ling's two-part webseries about her dad in the 1970s.

Left: Still from The Han Chronicles, Chye-Ling's two-part webseries about her dad in the 1970s.

A Chinese Pākehā love affair

My parents, my family, my universe really. Everything I am and make is somehow connected to being biracial. I come from two supremely loving, wild, loud and dramatic families who are culturally so different but share so much. My Chinese dad from Malaysia taught us the food culture, acceptance of others and badminton, but never taught us the language. My Pākehā mum from Christchurch made traditional Chinese recipes using pasta, had craft skills for days and kept the name Huang even after they seperated, to maintain a connection to her Chinese kids and experiences. The juxtaposing histories of my two families will never not be wonderful and fascinating to me.



"You're pretty hot...for an Asian" - NZ Herald interviews the cast for Theatre Week

Check out Natasha Daniel and Mayen Mehta from the cast of Orientation talk about the twists and turns of dating as diaspora with director Chye-Ling Huang and Dionne Christian from The Herald.

Redefining what are our stories

Dionne Christian talks to theatremakers about their contributions to NZ Theatre Month and how the stories we tell are changing

  • Weekend Herald
  • 1 Sep 2018
 Mayen Mehta, actor

Mayen Mehta, actor

Today marks the start of the first New Zealand Theatre Month, started by playwright Roger Hall to “celebrate and elevate” local plays and playwriting. It sees some 600 performances and 100 events staged by more than 70 organisations, including professional theatre companies, community theatre groups and schools.


It was a first date and drinks were going well — until Chye-Ling Huang's date uttered those six words loaded with generations of social conditioning, racist attitudes and pre-conceived ideas.

Huang, who co-founded Auckland-based Proudly Asian Theatre with comedian James Roque, admits to feeling confused.

After all, the person blurting out the backhanded compliment was herself bi-racial with Asian heritage but had just said she only ever dated white people.

“I said, ‘If you were white, I probably would have thrown my drink at you and just left,' '' Huang says.

“It would have been game over but, because they were Chinese, I was so conflicted because I've been there with this internalised racism toward your own people.

“I just felt a huge empathy toward her because I know that, as diaspora, you do grow up learning that white people are the goal, white people are the prize. I stayed to talk about what she said but, in the end, I decided I didn't have time to be anyone's learning curve.''

The timing of the experience was uncanny given Huang has written and is directing the play Orientation. It's a social satire that follows a young Chinese-Pa¯ keha¯ woman, Mei, in a brazen “sexploration” of Asian love and sexuality in contemporary New Zealand.

With an all-Asian cast, Orientation digs deep at social attitudes towards Asian people as lovers and considers what part race plays in decisions made around love and sex. Natasha Bunkall plays Mei, the young woman working through some identity issues.

“She feels that she's only ever dated white men in the past; she's working out why that is, her personal and identity issues around being biracial, so she's decided to date Asian men and see how she goes to get to a point that she's not seeing race.''

 Natasha Daniel, Kiwi-Asian actress

Natasha Daniel, Kiwi-Asian actress

Huang says many of us think attraction is inherently biological but she believes it comes down to socialisation too: “If you're raised to think white people are better than your own race . . . and let's not forget there are white men who fetishise Asian women. No one is born thinking like that.''

Huang and Proudly Asian Theatre's work centres around identity politics but she acknowledges its last play, Call of the Sparrows, was far removed from modern-day New Zealand. She says Orientation is “close to the bone” because it's set in the here and now and she wanted it to reflect the Auckland diaspora experience in 2018.

Ask Bunkall and fellow actor Mayen Mehta if Huang's script rings true and they'll tell you they recognise the characters and the situations they find themselves in. They're both familiar with the term “no rice, no spice” on dating websites, which indicates no one Asian or Indian should bother “swiping right”.

They're quick to add that it's only one Asian story in a region teeming with tales waiting to be told, but they're pleased Huang and PAT are challenging stereotypes and moving Asian voices into the mainstream.


Playwright Albert Belz, who's written about everything from life in a village at the foot of the Urewera Ranges, a Ma¯ ori showband touring during the Vietnam War and Jack the Ripper, is reflecting on his latest play.

Called Cradle Songs, it's produced by Te Re¯ hia Theatre and will continue re-defining what we think of as “New Zealand plays”, in particular work by Ma¯ ori playwrights. Belz won the 2018 Adam Award for Best Play by a Ma¯ ori Playwright for the story, which is set in the southwest of Ireland in 1999, at a nunnery near the fictitious village of Sibeal (County Kerry). Here, two young women — one Ma¯ ori, one Australian — are on their big OE when they come face-to-face with the supernatural force of Briar Faith.

Belz says it's a horror that follows Yours Truly, his thriller about Jack the Ripper. Partly inspired by seeing the production Horror at last year's Auckland Arts Festival, he and Cradle Songs’ director Tainui Tukiwaho have taken some of the tricks and tropes they saw to create a story about a vengeful spirit seeking utu.

“Getting to explore the horror and thriller genres of this show on the stage is something I'm really looking forward to,'' says Belz. “I want to put up a damn good ghost story that is both intriguing in the real-world setting and has real moments of fear and tension for our audiences.''

The story has its genesis in a real-life tragedy. Belz was so saddened and angry when he found out about Ireland’s Bon Secours Mother and Baby Home in Tuam, County Galway, that he wanted to write about it.

The home, run by Roman Catholic nuns, ran from 1925-61 ostensibly to care for unmarried mothers and their children. It offered anything but care. In 2012, it was revealed that up to 1000 children had, without their mothers' consent, been illegally adopted and sent to the United States and amateur historians published evidence about widespread infanticide at Bon Secours. The Irish Government responded by setting up the ongoing Mother and Baby Homes Commission of Investigation. It's now believed at least 800 babies and toddlers died there.

“I think any sane person who's heard about this will feel angry,'' says Belz. “I think there's something very human about wanting to take

those emotions and tell a story. Although I want my story to be entertaining, I don’t want to step on anybody’s dignity when I do that. It’s about acknowledging that these things happened and starting to tell the stories.”

He says Cradle Songs asks questions about blame and responsibility and reckons it would be extremely boring and limiting if, as a Ma¯ ori playwright, he was expected to stick to the script of telling stories set in New Zealand, of New Zealand and about New Zealand.

The production itself is led by a Ma¯ ori theatre company, director and writer who are dedicated to embedding tikanga Ma¯ ori into the way they work.

“The diversity of the voices that the man [Belz] puts out there is good for New Zealand writers but also for audiences to see the breadth of some of the story-telling,” says Tukiwaho, who believes Cradle Songs will break new ground in our thriller and horror theatre.

It’s the first premiere of the year for Belz, who also debuts Astroman this year with simultaneous productions by the Melbourne Theatre Company and The Court Theatre, featuring full indigenous casts on both sides of the Tasman.

The Cradle Songs cast includes sisters Donogh and Amanda Rees, Nicol Munro, Briar Collard, Anna-Maree Thomas and newcomer Ariana Osborne. Belz says getting the tone of his story right, devising the special effects and starting rehearsals went well but the most challenging aspect was finding a young Ma¯ ori actress to play one of the lead roles.

“They were all busy. Everyone had something else on, which is a great thing because it shows there’s work out there.”

Cradle Songs is presented in association with Ko¯ anga Festival and Going West at Corban Estate Arts Centre from Tuesday, Sept 5 to Saturday, Sept 8, and in collaboration with Q Theatre from Tuesday, Sept 18 to Saturday, Sept 22. Te Pou Theatre’s Ko¯ anga Festival is a fortnight-long celebration that also marks the theatre’s move to the Corban Estate Arts Centre. As its contribution to NZ Theatre Month, Te Pou continues its focus on works in development.

“It’s definitely gotten better now, but growing up, it was… There was just nothing.” - Chye-Ling Huang on the SpinOff

“When people think about dialogue around race, they always think it’s angsty, it’s messy and yuck. Yes, it’s all those things, but it can also be joyful and funny and weird and interesting in other ways.”

- Chye-Ling Huang


Asian representation in New Zealand in the age of Crazy Rich Asians

River Lin from the Spinoff interviews Alice Canton, JJ Fong and PAT's own Chye-Ling Huang about representation and the media in Aotearoa. 

Check out the full interview here or below.

Crazy Rich Asians has been lauded for its groundbreaking representation of Asian-Americans – but how is Asian representation looking in our own country?

“Why would you actively try and get into a space where no spaces exist for you?” says Alice Canton, an Auckland-based actress and theatre artist. “If I wasn’t creating my own opportunities, those opportunities would just not exist.”

While ‘yellowface’ has long since disappeared from Hollywood, the erasure of Asian stories from our cinema and televisions screen has been far more enduring. Often cast as bespectacled nerds or the exotic “other”, there has been little respite from the dominant narrative of whiteness as the norm, with Asian faces the rare exception – even when the character is explicitly written as Asian.

A recent example of this was the whitewashing controversy surrounding the movie version of the anime series Ghost in the Shell. Screenwriter Max Landis defended the casting of Scarlett Johansson as Major Kusanagi, arguing that there were no “A-list female Asian celebrities” whose star power could translate into high box office numbers.

This is reflected in UCLA’s 2018 diversity report, which found that minorities made up 13.9% of lead film roles in the 2015-16 season, compared to its peak of 16.7% in 2013.

The report also found that, of the scripted TV shows debuting in 2017-18 across all platforms, only 28% of its leads were minorities, and 24% debuted with a largely minority cast.

That isn’t to say things haven’t improved for Asian representation in recent years, with films and shows such as Killing EveFresh off the BoatMaster of NoneKim’s Convenience, The Big Sick and, most recently, Crazy Rich Asians and Netflix cult hit To All the Boys I Loved Before all gaining both critical and commercial success.

Crazy Rich Asians, in particular, is a rare show of force for Asian-American visibility on screen – not only due to its strong US box office (it opens here in New Zealand on Thursday), but also as the first film since The Joy Luck Club in 1993 to feature an Asian-majority cast. The film, about an Asian-American woman meeting her boyfriend’s wealthy Singapore family for the first time, far from perfectly represents the Asian experience (its erasure of South Asian faces has been noted elsewhere), but it does pave a way forward for more nuanced Asian-American representations on screen. It also proves that minority-led films can translate into success at the box office.

The issue of systematic erasure of East Asian faces and stories within the film and television industry hasn’t just rampant in Hollywood but at home, too.

According to New Zealand’s 2013 census, 11.8% of the population identified themselves as Asian. On screen, however, the numbers tell a different story.

Half-Chinese and half-white, Alice Canton often struggled with coming to terms with her cultural identity growing up in the lily-whiteness of the South Island (she was born on the West Coast and grew up in Canterbury).

While her Hakka mother was obsessed with The Beatles and cricket, Canton’s idols growing up were local stars like Shortland Street‘s formidable Dr Grace Kwan, played by Lynette Forday.

“My sisters and I were obsessed with her as kids because she had danced with the Royal Ballet. I grew up idolising her, right through high school to my early 20s, where I was sure I would be cast as her Eurasian bastard daughter.

“She was the only Asian New Zealander on my screen. Her and Jane Yee, who I also used to fangirl over. When I was in sixth form I wrote her an email, which was a big deal because no one emailed back then, telling her I’d written about her in my school speech.”

Opportunities for people of colour have continued to be in short supply, Canton says – the roles reduced to cardboard cut-outs like that of the bumbling sidekick or the ferocious ‘dragon lady’ popularised by the first Asian-American film star, Anna May Wong, in the 1930s.

JJ Fong, who plays Filipina nurse Ruby Flores on Shortland Street, says growing up with Asian media only helped to heighten her sense of difference from an early age.

“It made me think more deeply [about race] because I was in the thick of it and experiencing it, whether that was at auditions using Asian accents or just growing up as a Chinese-Kiwi among a lot of white kids who made fun of my eyes.

“I wasn’t observing the issue – I was the issue.”

Unlike Canton and Fong, the first time Proudly Asian Theatre co-founder Chye-Ling Huang saw an East Asian face and story reflected on screen was Disney’s animated feature film Mulan (1998).

“[Fa Mulan was] really revolutionary when I first saw her as a kid. I was, like, 10 or something and it just changed my life, which is sad when you think about it. It was a cartoon, but it was pretty much the only thing I saw on screen.”

It was years later, in 2009, when Huang experienced a play featuring real Asian faces and stories: Chinese New Zealand director and playwright Renee Liang’s Lantern. The play, which follows a Chinese family struggling with identity after immigrating to New Zealand, would later become Huang’s first play to be performed under the Proudly Asian Theatre banner.

“It’s definitely gotten better now, but growing up, it was… There was just nothing.”

Canton says the problem lies in the perpetuation of damaging stereotypes on stage and screen – compounded further by an already lacking number of roles to be filled.

“When there is a character or casting for someone who is Asian – it’s always Asian, it’s never specified – sometimes, it’s the most broad-stroke, bullshit characterisations imaginable. There are such limited opportunities that when you are the only person, you have to be all those things.”

Huang says part of the problem lies in Hollywood’s whitewashing of Asian stories – and the white actors who perpetuate it by agreeing to portray them.

“There are enough white actors and enough white stories out there to inspire and motivate white people. We don’t need more white stories – we need more Asian stories, we need more brown stories. Anyone who’s looking to take those opportunities away from us has got to be extremely short-sighted to think that it doesn’t matter.”

However, Canton says the characters on screen are merely a product of what goes on behind the scenes, in the writer’s room.

“You’ve got no one to call out on it when her name is Mei-Ling and she’s a lawyer in her 20s, her parents are strict and she just wants to fit in. No one is there to do that in the writing room, behind the camera, in the crew – let alone the visible, on-screen [characters].”

Nathan Joe, an Auckland-based playwright, says the drive to write nuanced Asian characters and stories is often born out of the recognition of its absence.

“The pin-drop moment usually is when you start asking yourself, ‘Where am I on screen? Nowhere, so do I wait or do I produce something?’ You’re driven by that need and that lack.”

For Canton, the “pin-drop moment” was when she started studying drama at high school. Over the years, the theatre artist has written and starred in shows like White/Other and Orangutan, which explores feelings of difference and belonging through performance art.

As well as performing in her own shows, Alice has collaborated with others who share her desire to change narratives of race, such as the makers of Proudly Asian Theatre’s 2016 show, Call of the Sparrows. The show borrowed heavily from elements of Chinese history, values and superstitions, and featured an all-Asian cast.

Perlina Lau starred in the comedy web series Flat3 and its TVNZ spin-off Friday Night Bites. Written and directed by Roseanne Liang, Flat3 (2013-14) came about after Lau and fellow actresses Ally Xue and JJ Fong created a theatre show, before eventually finding their way to the web.

“The whole Asian thing was kind of just a bonus. We didn’t intentionally set out to do that, but at the same time, it gave us a point of difference. From the get-go, we looked different – you didn’t see many all-female casts doing comedy. It didn’t get much more ‘minority’ than that.”

Like Canton, Lau says the women didn’t “see ourselves out there or in any context”.

“We thought, ‘Let’s be a version of ourselves. Let’s appeal to people like us – all the 20-year-old Kiwis that we see, let’s put them on screen with an Asian face.'”

Indeed, part of Flat3‘s appeal is its authentic portrayal of young adults navigating grown-up life, helped by its diverse array of writers behind the scenes.

“Fair enough that you write what you know – but get diverse writers in, because they’ll be writing what they know and that’ll be diversity. It’s a conscious decision because it’s not a level playing field.”

Chye-Ling Huang and James Roque co-founded Proudly Asian Theatre as a way of levelling the playing field without relying on the strained budgets of film and television.

“We didn’t have anywhere else to go,” says Huang. “We had no path to follow; there was no one we could really attach ourselves to that could help us get that leg up in the industry. In the end, we connected with Renee Liang after we did our first show and she really helped us.

Their more recent projects, Asian Men Talk About Sex, was made after receiving funding from Loading Docs, a platform which helps producers launch short documentaries.

The documentary, which features Yoson An who is set to star in the live-action remake of Disney’s Mulan, came about as a means of self-reclamation for Asian men’s sexuality in a way that wasn’t confrontational but “celebratory and empowering” in its conversations about race.

“There’s a lack of representation in New Zealand for Asian men of any kind,” says Huang. “It’s slim pickings out there and we really wanted to make something that was tipping the scales back in Asian men’s favour.”

Her work – from the Chinese opera-inspired Call of the Sparrows to the melodrama of David Henry Hwang’s FOB – addresses the messiness and dissonance of identity politics without being confrontational.

“When people think about dialogue around race, they always think it’s angsty, it’s messy and yuck. Yes, it’s all those things, but it can also be joyful and funny and weird and interesting in other ways.”

They’re still difficult conversations to have, but the dialogue around race has improved in recent years, says JJ Fong, who co-starred with Lau in Flat3.

“It’s definitely gotten a lot better in the last five years with casting, being open to other ethnicities and seeing them in a different light, rather than ‘That’s just an Asian or Māori role.'”

However, despite her early experience with racism and what may be seen as its continuation through stereotypical casting practices, the actress isn’t quick to lay blame on the writers and producers alone.

“We can write articles about it, we can whine about it on Facebook – but the fact of the matter is, if you’re not in there doing it, creating it for yourself, then things won’t change because people won’t see it”.

“It’s about fostering and mentoring talent as well,” adds Huang. “Often people will say, ‘I just don’t know any people of colour, women writers or Asian writers,’ but you have the responsibility as a person in a position of power to turn the tide. It’s not going to happen on its own and the work will be better for it.”

"At this point, there are no excuses." - Podcast with Saraid De Silva and Chye-Ling Huang

"Who the F*** knows how to get it right?"

Q Theatre brings you a podcast series called Meet the Makers - where interviewers get inside the minds of the Matchbox creatives for 2018. Playwrights, actors and directors get into the gnarly questions about what drives their work.

Have a listen here to Chye-Ling Huang, director and writer of Orientation, chatting to Saraid De Silva about sex, love, and relationships, and how they intrinsically intersect with race and identity.

 Photo: Nahyeon Lee

Photo: Nahyeon Lee

"Nobody is the wokefied paragon of sex and race and dating. So, I hope that people don't feel intimidated by the work, because they'll see very clearly and very quickly that the people of colour are super flawed in this discussion as well."

Catch Orientation from September 5th at Q Loft! Tickets available here

Tickets are LIVE for Orientation!

PAT's steamy new show ORIENTATION is on sale NOW!

A hot mess where love and race clash in Aotearoa, Chye-Ling Huang's Adam Award shortlisted play will premiere at Q Loft this September.  

Huang says, "I wanted to explore how sexualized and desexualised tropes of Asian people in western cultures impacts on sex, love and dating. It's an irreverent way of diving into the confronting questions I often encounter in my own dating experience."

Check out the first trailer below!

Tickets here: http://www.qtheatre.co.nz/orientation

Workshops kick off for Orientation

Creating worlds is one way Jahra 'Rager' Wasasala describes her movement practice, and PAT were lucky enough to work with her to get a taste of what our world looks like for Orientation, our latest show.

Our central question for our Asian cast - how do we perform whiteness? What is whiteness? How does living as an Asian person in a western country change you, your voice, your body, your outlook? 

 Chye-Ling Huang and Jahra Wasasala.

Chye-Ling Huang and Jahra Wasasala.

Catch Orientation from September 5th at Q Loft. 




PAT Chats: Pretty Butch - Interview with Singaporean playwright Tan Liting

Pretty Butch - creating stories that break the binaries


"We make expectations based on gender so often that we don’t stop to consider why we think an effeminate man is weak, and why a masculine woman is less attractive. Would we have less sweeping judgements of people if we took time to understand their struggles?"


Tan Liting's 'Pretty Butch' is a binary-bending new play and the latest work to feature in our Fresh off the Page playreading series, bringing brand new Asian works from around the globe to the Basement Theatre in Auckland. A Singaporean playwright, Liting works full time as a theatre practitioner with an interest in devising performance from personal stories. Liting’s past directorial credits include Pretty Butch (M1 Singapore Fringe Festival 2017), The Truth About Lying: Heresy and Common Sense for the Theatre (The Finger Players), Taking The Subs (The Substation Director’s Lab), (When I’m) Sixty Four (Ageless Theatre), Re: Almost Left Behind (Singapore Arts Festival 2011), Almost Left Behind (NUS Thespis). Liting also teaches drama in schools, and has trained her students in both performance and backstage work, in the hopes of providing a more balanced experience in theatre training and performance. Liting likes conversation, hearing and telling a good story. (Liting also likes guitars, sneakers and referring to Liting in third person.) 

Marianne Infante, producer of Fresh Off the Page, interviews Tan Liting on their journey of creating 'Pretty Butch' and the motivations behind their work concentrating on femininity and masculinity rather than the scope of sexuality.

 Tan Liting, playwright

Tan Liting, playwright


What was the inspiration behind Pretty Butch, or how did the story of Pretty Butch spark up for you?

Initially I wanted to write a documentary play about being butch in Singapore. This was in early 2015, when there was an open call for the M1 Singapore Fringe festival 2016. The theme back then was Art and the Animal, and there was this sense that a masculine presenting woman was looked at as if she was an animal: not nearly man enough, and not feminine enough to be considered beautiful or pretty. But it turned out that the work was more suited for the theme of 2017: Art and Skin, and so the development process began. I found myself with more time to develop the work, which I was very grateful for.

I started writing the play with the intention of interviewing people who identified as butch and using the transcripts as material. However, people were not ready to accept ‘butch’ as a label on themselves, so I only managed to get 4 people who responded. At the same time, I was also keen to deal with some personal demons, and so I began to look inwards. The play began to take its current shape about 9 months into the writing process, and I just rolled with it. This is 28 different drafts later, and I am still finding things to improve. I suppose when you deal with an intensely personal subject matter, you will never be fully satisfied with its expression.

How does the story resonate with you?

All these characters are a part of me, imagined or otherwise. They are a reflection of me, at least at the point of writing. I have grown much since the first time this play was performed, but there is still a lot of the play in me.

 (Top row, from far left) Fadhil Daud, Deonn Yang and Henrik Cheng, (bottom, from far left), Farah Ong and Shannen Tan at the premier of Pretty Butch, M1 Singapore Fringe Festival at the Black Box, Centre 42 in 2017   PHOTO: THROBBINGPIXELS

(Top row, from far left) Fadhil Daud, Deonn Yang and Henrik Cheng, (bottom, from far left), Farah Ong and Shannen Tan at the premier of Pretty Butch, M1 Singapore Fringe Festival at the Black Box, Centre 42 in 2017


You've mentioned in interviews that you didn't want the focus of the play to be on sexuality, but rather on the topic of masculinity and femininity. Why did you choose this as your focus? 

I guess when you write a queer play, there is a lot more focus on coming out, on being different, on having power over your own sexuality (or not). I didn’t feel like that was my fight. I wanted to discuss something that was a lot more universal, and not just a ‘queer’ thing.

In the writing process, I also wanted to discuss ‘masculinity’. It felt like one of those subjects that people were afraid to touch. A lot of people asked me why in a play about being butch, there are 2 straight male characters. Someone even said that they felt that straight men had all the airtime in a lot of artistic work, and that I should have given more space to ‘butch’ characters. My response was this: men find it the hardest to talk about masculinity. This self reflection is often seen as weakness.

Straight men may dominate social discourse, but this is an area they find difficult to talk about: I simply wanted to open those doors and let some light in.

We are living in an age where we have a broader and more diverse understanding of sexuality: but the conversation we are finding difficult to have was more about gender: what standards do we hold biologically male or female persons to? What does it actually mean to be male or female? Gender and sexuality are completely separate, and yet we can’t seem to talk about gender without thinking about sexuality.

What kind of conversation are you hoping to begin through 'Pretty Butch'

I hope the play challenges your preconceived notions of gender and leads you to question what you believe to be male and female. A lot of these things are taken for granted: we make expectations based on gender so often that we don’t stop to consider why we think an effeminate man is weak, and why a masculine woman is less attractive. Would we have less sweeping judgements of people if we took time to understand their struggles?

How has the development process and the journey of creating this play been for you, and what's next for the play?

It’s an ongoing process that is still unfolding right now. I am constantly surprised by how little I still know about the topic. I am learning new things everyday, and challenging my own perceptions the more I work on this play.

I hope it keeps growing, keeps getting translated, and keeps finding spaces in different cultural contexts. We are taking the text to Taipei and we are finding an interesting dynamic between the characters in the play and the cultural context of Taiwan as the LGBTQIA capital of East Asia. I hope Pretty Butch keeps asking questions in different places, and grows together with the conversation about gender and identity we are currently having: until one day, we will read the play and discover how irrelevant it has become. When that day comes, the world would be a lot more accepting, and I hope the play can finally be laid to rest.


Check out Pretty Butch as part of our playreading series, Fresh off the Page, Wednesday 27th June at 8.30pm, Basement Theatre Studio!