Times Online: Roots presented by Oliver Chong

Thanks for the shoutout Times Online! Read on below or here

Find your Roots at Uxbridge

 Kelly Teed, January 31, 2018

It’s not often you see a play subtitled in Auckland — much less one that’s subtitled in Mandarin but Proudly Asian Theatre is leading the way.

In its first show of the year, Proudly Asian Theatre is bringing Roots to Howick — the first time its brought a show outside of central city suburbs.

In association with the Auckland Lantern Festival and the Auckland Fringe Festival, Roots is written by Oliver Chong is directed by Chye-Ling Huang and stars Amanda Grace-Leo.

The performance, at Uxbridge Arts & Culture will be the first time the solo play has been performed by someone other than writer Oliver Chong. It’s also the first time Chong has given permission for the play to be performed by someone other than himself – and for the gender of the main character to be changed to reflect Singaporean-Kiwi actress Amanda Grace-Leo.

It follows the journey of one woman’s quest to find her familial identity in the cultural confusion of Singapore. She arrives in China to reclaim her past, but ends up stumbling upon more questions than answers.

Huang says the high Chinese population of Howick made it a good choice to branch out to with the hope of giving them an opportunity to relate.

“Parents and kids who may have different first languages can come together and experience the same show, and have their different life experiences acknowledged,” she says.

“I think that New Zealand and Singapore both share a lot in terms of identity crisis journeys. We’re both young countries with a lot of diasporic communities and this story is likely to resonate with a lot of different communities.”

Asia Media Centre: Interview with Chye-Ling Huang, director of Roots

The Asia Media Centre's Francine Chen caught up with Chye-Ling Huang, director of Singaporean play Roots, about PAT's first bilingual show, and the future of Asian storytelling in New Zealand. Read on here or below!

Building bridges with bilingual play

Francine Chen

01 FEBRUARY 2018

Chye-Ling Huang, director of Roots

Roots [根] – a bilingual play premiering at the Auckland Fringe festival on 23 February – offers diverse communities an opportunity to appreciate the beauty of Mandarin together in a safe space, says Chinese-Pākeha director, actor and writer Chye-Ling Huang.
 

When Chye-Ling Huang first read the script for Roots, she knew she had to bring the story to New Zealand.

The play, an autobiographical tale that traces Singaporean playwright and actor Oliver Chong’s search for his ancestral roots, hit uncannily close to home for Huang. 

The Chinese-Pākeha director, writer and actor had been investigating her own family history after years of curiosity about her heritage – a quest that led her to China.

“My dad is Chinese-Malaysian, so when we visited his home, it’d be Malaysia,” she says. “But as I got older I started getting confused. Were we Malaysian, or were we Chinese?

“After some digging I found out where my ancestral village was – Xiamen, China. On the way I read Oliver’s play, and the themes were exactly the same as what I was experiencing at that time in my life. 

“I was so struck by it I thought, ‘I've got to put this on one day’.”

Chye-Ling Huang's quest to understand her heritage took her to southeast China. 

More questions than answers

While being a Chinese-New Zealander came with some cultural nuances, Huang learnt there were universal questions of identity shared by diasporic Chinese communities. 

“Why do we want to find our roots? What constitutes our roots? When do we know when we've found it? Why is it important to our everyday life and how much of that shapes who we are?

“Those are questions that have recurred throughout my life.”

Having a Chinese name was one of the reasons she repeatedly faced such questions, Huang says.

“I don’t have the sort of name that blends in with New Zealand-Pākeha.

“I’ve continually been questioned about where I’m from, whether I can speak Mandarin, what being Chinese means to me. And up until last year or the year before, I didn’t really know any of the answers. I had never been to China and investigated for myself what it all means.

“Does it even change anything that I went back? Or am I still the same person?

“It’s a complicated way to look at heritage, and I think the play definitely opens up a lot of questions.”

Amanda Grace Leo plays Hsu Hsien, a Chinese-Singaporean woman who embarks on a trip to China to learn the truth about her family’s history. 

Roots performing at the Uxbridge Arts Centre in Howick. Photo: Julie Zhu Photography

Bringing diverse communities together

Roots reunites Huang with Singaporean-Kiwi actor Amanda Grace Leo, whom she last worked with on Call of the Sparrows.

It’s the first time the play will be performed by an actor other than Oliver Chong. Subtle tweaks were made to the script to reflect the change in performer, but none were as significant as the decision to stage the production in English and Mandarin. 

Huang hopes the bilingual element will bring diverse communities together in mutual appreciation of the language and story.

“The original script is in Mandarin but we’ve made it bilingual,” she says. 

“I hope Roots helps to unite people who can’t speak Mandarin and those who can in one room together, to show that it’s not so scary to co-exist, and to hear Chinese as a really beautiful, interesting, funny language in a safe space.”

The play also offers Chinese diasporic families an opportunity to reflect on issues of heritage in a tongue familiar to each generation.

“I know many Chinese diasporic families where the parents don’t speak English very well, and they don’t speak to their kids in their native language because they don’t want to disadvantage them by having accents or being teased. 

“So there are lots of families who just can’t communicate or be on the same page. They’ve done it out of love, but it’s a massive disconnect. It’s my hope a family of those people will come along, and both understand everything that’s happened.”

Asian talent in New Zealand

The launch of a bilingual play with an Asian female lead is among the latest in a list of encouraging developments in the Asian-Kiwi arts scene since Huang graduated from acting school in 2013.

An anxiety then over the lack of prospects for Asian-New Zealand performers compelled Huang and the only other Asian student in her class, James Roque, to start their own company, Proudly Asian Theatre.

“We started getting jobs, but along the way we met lots of up-and-coming Asian-New Zealand talent who were doing their own work; some successful, some struggling.

“Although we’re not hugely resourced, we decided to make PAT more about engaging with, and discovering, and supporting Asian artists.

“The underlying kaupapa behind everything we do at PAT is inclusivity, and to support people in whatever way we can, with whatever resources we can.”

Huang believes the outlook for Asian-Kiwi stories is a promising one.

“I think we’re becoming braver to put ourselves on stage, and push the boundaries politically, and be a bit more contentious, a bit more outspoken. 

“It’s my belief we’ll get to a point where there’s lots of practitioners doing all levels of [things]. I really want to do Shakespeare with an all-Asian cast one day. Or Chekov, or anything mainstream, but casted inclusive. 

“It’s going to take time, but it’s exciting.”

Eastern Courier write-up: Roots presented by PAT

Thanks Eastern Courier for the great write-up! Read on here or continue below!

Inspiring Solo Show Explores who she is

LIU CHEN

February 14 2018

Amanda Grace Leo stars in Oliver Chong's epic autobiographical play. Photo: Andi Crown Photography

Singaporean-Kiwi actress Amanda Grace-Leo will perform the solo show Roots at Uxbridge Theatre in Howick on February 23-24.

One of Singapore's favourite solo shows Roots is coming to the stage of Howick's Uxbridge Theatre for its New Zealand premiere on February 23-24.

The play, presented by Proudly Asian Theatre (PAT) as part of this year's Auckland Lantern Festival programme, follows a woman's quest to find her family identity in the cultural confusion of the country in South-East Asia.

While setting out on a journey to China to reclaim her past, Hsu Hsien, the main character, ends up stumbling upon more questions.

The story follows a woman's quest to find her family identity in the cultural melting pot of Singapore.

The Roots show was originally written and performed by Singaporean actor-director Oliver Chong, and it's the first time he has given permission for another performer to take on the role.

The NZ version has also changed the gender of the character to suit Singaporean-Kiwi actress Amanda Grace-Leo.

Chye-Ling Huang, director of the new version, says parents and children can come together and have their different lived experiences acknowledged.

"I think that New Zealand and Singapore both share a lot in terms of identity crisis journeys," Huang says.

"We're both young countries with a lot of diasporic communities and this story is likely to resonate with a lot of different communities."

Photo: Andi Crown Photography

PAT has adapted the script to make it bilingual for Kiwi audiences, with surtitles in both English and Chinese languages, meaning the show is also accessible for the hearing impaired.

It's also the first time the theatre company is branching out into Auckland's suburbs, which has up until now only showed works in the city.

After the Uxbridge Theatre performances, it will take Roots to play at the Q Theatre in Auckland city.

PAT and The Finger Players take out Best Set Design at Fringe Awards!

Roots written by Oliver Chong was presented by PAT in the 2018 Auckland Fringe at Uxbridge Arts Centre in Howick and Q Theatre in central city.

Starring Amanda Grace Leo, directed by Chye-Ling Huang and original design by The Finger Players, Chye-Ling Huang, Tom Dennison (sound) and TFP's set design took out Best Set Design in the fringe Awards.

125 kgs of rice raked perfectly into a square across the stage, a cymbal with a mic and loop pedal and a humble broom created shapes taking us through the journey of one woman finding her roots in China from Singaporean diaspora. 

Photos: Julie Zhu Photography

Congrats to all the winners and happy fringe! Read Scoop's roundup below:

 

Auckland Fringe Closes with the Fringe Awards

Monday, 5 March 2018, 4:06 pm

Photo: Andi Crown Photography

After a jam-packed two-week showcase of the weird and wonderful, Auckland Fringeare delighted to announce the winners of the Auckland Fringe Awards. A celebration of the unique experiences on offer as part of the avant-garde festival, Auckland Fringe officially went annual in 2018, and the Fringe Awards have also become a staple part of the festival calendar.

Twenty-one industry experts were tasked with the challenge of wrangling the immense programme, taking them across the region for journeys into the womb, on dates in gutters, back in time to a Roman amphitheatre, and grappling with the big ideas and hard questions. Awarded on Sunday night in the original home of Auckland Fringe, Basement Theatre, the winners are…

Overall Awards:
Unfuck the World (Social Impact Award): Drowning in Milk by Saraid Cameron
Spirit of the Fringe: The Plastic Orgasm by Julia Croft & Virginia Frankovich
Best in Auckland Fringe: Fuck Rant by Nisha Madhan

Industry Opportunity Awards:
Auckland Live ‘Free Your Mind’ Award
The winning Artist/Company of the ‘Free Your Mind’ Award will be given $1500 of cold hard cash to fuel a pitch for a project that they would like to put on at one of Auckland Live’s venues.
This award will also entitle its bearer to at least one complimentary flat white at the Box café, and a philosophical discussion about a topic of your choosing with our contemporary programmer, Anders Falstie-Jensen.
Winner: Meg Rollandi (Performance Designer for Force Field)

Basement Theatre Migration Award
The Basement Theatre Migration Award goes to a show that took place in any venue other than Basement Theatre during this year’s Auckland Fringe. The winning show receives an automatic spot in a future Basement Theatre season, with free venue hire, as well as $500 cash.
Winner: The Contours of Heaven

Auckland Arts Festival Fringe Award
The Auckland Arts Festival Fringe Award recognises a truly excellent production in the 2018 Auckland Fringe, and awards the recipient $2,000 cash, as well as access to Auckland Arts Festival producing staff for mentorship and advice.
Winner: The Contours of Heaven

Best in Category Awards:
Best Circus: Krīdati by Ariel Cronin & Jay Clement
Best Music: Rattle Showcase One - The Gristle of Knuckles by Eve de Castro-Robinson
Best Storytelling: Humourism by Brendon Green
Best Visual Arts: Liminal: Motion as Manifest by Joshua Lewis
Best Cabaret: TRIAGE! A Nursing Cabaret by Zulieka Khan
Best Dance: Dance Danced Dancing by Josie Archer & Kosta Bogoievski
Best Comedy: Chef Masters by Johanna Cosgrove, Freya Finch & Vida Gibson
Best Theatre: The Contours of Heaven by Puti Lancaster & Ana Chaya Scotney
Best Live Art: Fuck Rant by Nisha Madhan

Best Performance Awards:
Best Performance (Comedy): Brynley Stent (Wigging Out)
Best Performance Ensemble (Comedy): Mackenzie’s Daughters
Best Performance (Music): Amalia Hall (Amalia Hall Plays Ysaye)
Best Performance (Theatre): Ana Chaya Scotney (The Contours of Heaven) & Duncan Armstrong(Force Field)

Production Element Awards:
Best Set Design: Roots by Proudly Asian Theatre
Best Lighting Design: Sean Lynch (Watching Paint Dry)
Best Sound Design: Jazmine Rose Phillips (Blood, Innocence & The Void)
Best Director: Isobel MacKinnon (Force Field)
Best Overall Production Design: Meg Rollandi, Jason Wright & Marcus McShane(Force Field)

Best Newcomer Awards:
Best Newcomer (Company): Dance Plant Collective for The Cost of Arms & Legs
Best Newcomer (Individual): Vida Gibson (Women & Water)

Auckland Fringe Community Awards:
Best “Off-Broadway” Venue: Federal Delicatessen
Outstanding Community Engagement: An Oldie But A Goodie by Active Arts
Judges Special Commendation for the One-on-One programme: To Basement Theatre for initiating it, and to the artists who took it on!
Lifetime Fringe Hero: Helen Sheehan

'Stuff' covers Roots presented by Proudly Asian Theatre

Roots was presented in the Auckland Fringe Festival - check out our write up and video on stuff here or read on below!

Photo: Julie Zhu Photography

 

Singaporean play searches for roots in New Zealand for the first time 

MANDY TE

A one-woman bilingual show will be exploring identity and heritage on stage. 

Roots will be performed for the first time in New Zealand as part of the Auckland Fringe Festival and the Auckland Lantern Festival by Proudly Asian Theatre (PAT).

Formed in 2013 by Chye-Ling Huang and James Roque, PAT aims to support Asian New Zealanders who want to tell their stories through theatre and film.

Roots was first staged in 2012 by Oliver Chong. The show won awards in Singapore for its production and script. 

The main role has been changed to reflect Singaporean Kiwi actress Amanda Grace Leo and PAT co-founder Chye-Ling Huang would be directing the show. 

Huang said the play was about one woman's journey to find her roots.

"She's from Singapore and goes back to China to uncover some meaning and answers to the questions of 'what are my roots?' and 'where do I come from?'," Huang said.

"Roots is very translatable and the themes of identity and ancestry relate well, especially for Chinese diaspora in particular."

uang spent eight weeks in Singapore with theatre company The Finger Players which was where she met Chong and found an affinity with his work, she said. 

"I went to China to discover my familial identity and what happened to Oliver happened to me," Huang said. 

Huang hoped that those who felt connected to Roots would feel "less alone" and got a sense of "affirmation," she said.

"We're in the same diaspora tribe. 

"We live in between worlds which is really grounding and we can share in that."

The play would also be performed in Howick as it opened opportunities to connect with the Chinese community in East Auckland on their "home turf," Huang said. 

"Parents and kids who may have different first languages can come together and experience the same show, and have their different lived experiences acknowledged."

In Chong's original version the play is primarily in Mandarin. The New Zealand version will be bilingual, and Mandarin and English supertitles would be projected throughout the performance.

A native Hainanese speaker, Leo would be performing in Mandarin as a non-native speaker which was challenging, she said.

However, Leo enjoyed the bilingualism as both Mandarin and English were equally acknowledged, and it was also accessible for deaf and hard of hearing audiences, she said.