The National Diversity Awards


You have until June 1st to #voteforLucySheen in The National Diversity Awards it only takes a few minutes of your time. Please share and encourage your friends lets start getting more representation of British East Asians out there.
Click here to vote

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It’s Here!

Foreign Goods the first ever anthology of British East Asian playwrights with a forward by David Henry Hwang – some one pinch me & wake me up !

Foreign Goods - Oberon Books
Foreign Goods

An essential introduction to the British East Asian theatrical community, this is a collection of full plays, short plays and monologues from British East Asian writers, including Jingan Young, Kathryn Golding, Amber Hsu, Cathy Lam, Lucy Chau Lai-Tuen, Tan Suet Lee, Julie Cheung Inhin & Stephen Hoo.

Come along to the official book launch at Asia House

Reflecting as current Acting Job draws to an end

When acting jobs draw to and end it’s always sad.

Sandra Oh
But it’s part and parcel of the peripatetic life of a freelancer. You make new friends and now with social media, you can keep in contact (although it’s not the same, but better than losing touch). Recently and more to the point unusually for me; I have been incredibly lucky in the recent work I’ve been given the opportunity to do. Neal Street Productions, Royal Shakespeare Company, BBC, Big Finish Productions, Theatre503, HerStory Festival, Women and War Festival and Untold Arts #TheScarTest at Soho Theatre. But even in the 21st century, such productions as #SnowInMidsummer (RSC) and #TheScarTest are rare. Rare because of the content/subject matter and casting. #Snow an all East Asian eleven strong cast, #Scar an all female, all women of colour cast – hired to act, not just because of the colour of their skin, but their ability to perform multiple roles.
I’d like to think that we come a long way since the 80’s when I played Portia (amongst other roles) at The Bristol Old Vic in the studio.

Julius Caesar BOV 1987
Lucy Sheen and Leo Wringer as Portia and Brutus photographer Lawrence Burns

Directed by the late great Roger Rees. One broad sheet critic headed their review

 Let Me Have Men About me that are Black.

His contention was that no matter how well the diverse poly ethnic company spoke the verse and he conceded we spoke it perfectly. It just wasn’t Shakespeare, because we were not white. I repeat I’d like to think we have come a long way since then. I can dream can’t I? But then I think it’s been thirty years since that groundbreaking production. And we have yet to see another British East Asian actress in a major Shakespearian role on a main-stage in the UK. Incredible isn’t it.

Whilst our colleagues of South Asian and Black, African and Caribbean heritage have made headway – British East Asians remain stuck in a time vortex which is more reminiscent of the Victorian world view when it comes to people from the Far-east than the actuality of the 21st century. But is this then a true reflection of how the western, Eurocentric Caucasian Oxbridge educated male arts dominated world view us?

Diversity is the watchword and those in the industry sitting in their ivory towers, holding the purse strings tight, dictating what is “good art” and what subjects are worthy of being produced and who can or cannot be cast in leading protagonistic roles. But inclusivity the actual driver, the engine if you like to achieve diversity top to bottom, in front of and behind the camera that is missing. We can have all the protestations from the production companies that they see diversity as something that is lacking. That they need to do more. But if the will to drive this to fruition is not there. If the very people tasked with implementing this have no connection to diversity what then? And it isn’t just the media (TV, Film) that is guilty of paying lip service only it is in our theatres. On our main stages, not just regional subsidises theatres (the few that are left) but our major NPOs (National portfolio Organisations) i.e. the ones that receive ongoing funding from The Arts Council Of England, some not all are still lagging far behind in the diversity. In casting of actors, back stage, administration wise etc.

When are we going to see more diversity and inclusion in British culture?
And please don’t tell me it takes time for these things to occur. It’s been thirty years since I first entered in to the fray and heard the “debate” about accurate and appropriate representations of people of colour. How much more time is needed? Quite frankly that “excuse” has passed its sell by date and gone over the “best before” date.

All I want, all any actor wants (irrespective colour, gender or physical ability) is a fair shake. An opportunity to work in the field that I trained to work in. I think I’m ok at this type of work. All anyone wants is to be able to make the bills at the end of the month, to earn enough to cover their travel and food costs and maybe have just a little at the end of the month to have a few nights out – go see a film, catch a theatre show have a drink or meal with a few friends once in a while. As an actor of colour I’d love not to be worrying
about the when the next casting will come along let alone the next job. At the moment many acting jobs appear to be driven not by the talent,  but by who your agent is and whether the production company and or casting director actually knows and likes the agent you’re with. You’re being dictated to before you even get a chance to walk through a door to a casting. You add the latter to the existing narrow view when casting people of colour in non-specified roles, add that to the ongoing view of what an East Asian should be, the limited expectations of what an East Asian should be like through the culturally dominant lens of the UK and castings are not piling up for actors like me. Add to that the inbuilt agism when it comes to female actors and that’s yet another barrier. Whatever happened to “playing age” especially in theatre?

I’m not famous, people don’t know who I am or what I’ve been in. That’s fine, I don’t mind that at all. But industry people? You would be forgiven for assuming that those who work in the business of finding or suggesting actors for roles, that such professionals would be in the know. It’s not like I’m fresh out of drama school.  I have to confess I have now been around for a while and I do have a fairly credible CV.  But recently I have been quizzed by several industry folks in the casting sector,  asking me why they have never heard of me, or never come across me.
I don’t know, how does one answer that one?  At the beginning of this year I appeared in Call The Midwife S6 Ep3 an episode that apparently attracted 31.4 per cent of the viewing audience and 500,000 more viewers than the previous week’s episode. So over or around 9.22 million viewers. Making Call The Midwife the most watched program for that day.

As an actor of colour or a very particular and unrepresented colour roles of this type, calibre, researched well and crafted with love and care are the exception not the rule.

And on that note I will draw to a rather (for me) depressing note. As I enter the final few performances of The Scar Test and extraordinary play written by the über talented Hannah Khalil, directed superbly by Sara Joyce and performed by an equally extraordinary cast Nadia Nadif, Shazia Nicholls, Janet Etuck and Rebecca Omogbehin I cannot help wonder whether we will ever get the chance to work together again because this grouping of actress spanning continents, faiths and cultures is so rare to be seen on stage yet it is an actuality in British  life in spite of what the Daily Mail and other right-wing fear and hatred mongering media would have you think. Britain is not as segregated and fearful as some would want us to believe.
Yet our art, our culture has not even come close to reflecting the exuberance, the complexity, the joy and diversity that really is modern-day Britain and we are all the poorer for it.

 

 

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Saying goodbye to 2016

It is at this time, most people reflect on the events of the year, whilst also looking towards to the future.

As a female, as a British East Asian what does 2017 hold in store? With everything that has gone on recently across the globe and the shift in not just national and international politics. Where do I stand? Where do I place myself in a new Britain that is now seemingly blindly shuffling its way towards – towards what we don’t quite know do we?

America a country that I have always loved, will this country now allow me to enter it freely?

 Central Europe is in the grip of its own doubt, grappling with the ideal, but having to face some of the grim realities that free unfettered movement can enable.

And Britain, 
“…this scepter’d isle,
This earth of majesty, this seat of Mars,
This other Eden, demi-paradise,
This fortress built by Nature for herself
Against infection and the hand of war,
This happy breed of men, this little world,
This precious stone set in the silver sea,
Which serves it in the office of a wall,
Or as a moat defensive to a house,
Against the envy of less happier lands,
This blessed plot, this earth, this realm, this England.
Richard II, Act 2 (Shakespeare)

Has shown itself to be less than a paradise .and not as blessed a refuge as perhaps was once thought. Brexit has scratched the country’s surface and our collective mindset and what we have uncovered is that the dark, unsavoury and toxic ideals of the extreme right have never really left us. 
Britain is not alone in this “discovery.” 

I feel fearful. Not of being dragged from my bed in the dead of night but I am fearful that the spread of this below the line extreme right consciousness will  inveigle itself once more into our institutions and national structures. I hope that I am just being paranoid and overly anxious.
I am not a politician or an academic. I’m an actor, a writer, filmmaker and when needs be, a bit mouthy about issues that I feel passionate about. 
As a person of colour, as a disenfranchised culturally dislocated and isolated person I am finding it more and more difficult to see how I fit into Britain.
The social and cultural progressions that have been made since the late 50s early 60s when I first landed in this country as Hong Kong Chinese foundling, have been truly remarkable. The diversity and variety that can be seen, heard and experienced in most major cities and towns across the land is the jewel in Britain’s crown.

 So why do I still feel excluded from British society?
Quite simply because I seldom see myself represented in my own culture – British culture.
And as a professional artist, it is rare that I even get the chance to be considered to represent my own ethnicity, let alone see the Britain that I grew up in, recreated on TV, film or in the theatre.

 In April 2013, I did a presentation on the unrealistic artistic mirrors that I was faced with in the media as I grew up during the 60s. It was part of IN CONVERSATION – A Snapshot of Chinese Cinema Today.

More Light 2009

More Light Arcola Theatre 2009


Whilst there have been great strides forwards for British East Asians (though to be fair we lag far behind colleagues from other British minority ethnic groups). 

We still have not been able to break through the entrenched, almost subliminally embedded Victorian perspective of what an East Asian should be. In spite of several high-profile production since 2013 that have had a majority or completely all British East Asians in the cast.

On the small and big screens in the UK, British East Asians are hardly to be seen at all. 
Now when I say British East Asian, what I mean is roles and story lines that don’t cast East Asians as the outsiders, the immigrants, speaking English with a heavy accent. Roles that see East Asians as British. The girls next door, the cabbie, the Doctor or the local shop owner. 

We are far from being there. The casting controversy that The Print Room, a fringe theatre in West London find itself in, is testament to that. We will see on stage, in 2017, a production being done in Yellowface.

So for those that may have stumbled across this blog and be wondering what on earth I’m on about. Why the hell am I complaining about not being included, I should be grateful that I live where I do – yes I am lucky that I live where I do. 
But that’s part of the “problem” isn’t. Here we are in the 21st Century Britain a group of British citizens has been edited out of British society and culture. To the point that we are not even able to participate in the re-telling of our own story (fictional or factual).

We are neither British nor in some cases East Asian. Relegated to cultural servitude. As coat hangers upon which others, many of whom see themselves as the innovators of art; and are by and large the dominant group in society. They dangle and exhibit their artistry, from our history and cultural lineage, exploiting us, but in the same breath deny us access and any hope of participating in our own culture.

Whether it is ridiculous fancy dress costumes,

img_0410 img_0411
 

 

or stereotypical TV/Film roles being portrayed by white actors

img_0412

Janette Tough as Japanese fashion designer Huki Mukin in the Ab Fab movie

Take a moment and think.

Would you be happy constantly being depicted, in the media and on stage as

img_0413

 

 

 

 

 

 

or

img_0414

No matter what the drama 

Add to this the representation of these White British stereotypes are only portrayed by Black or Asian actors never, or seldom, a white actor, wouldn’t you begin to question your place in British society?
Never seeing an East Asian as a protagonist in any drama. Even when they do appear they are  portrayed as a white person. White people stripped down to a basic racial and cultural cliché. Not once, twice but every single time you turn on your TV or go to the cinema, rent a DVD, stream a new TV drama, or listen to a radio play 

Wouldn’t you begin to feel ever so slightly irked. Imagine how you might feel after thirty or forty years of this – welcome to our world.

So as 2016 draws to a close (many are willing it to end) I turn my thoughts to face whatever will come in 2017.

I hope that it will be a more diverse, more equal and a more inclusive world


.

Wishing you all health, happiness, prosperity and peace