Our Man In Beijing goes to…. Malaysia!

In May of this year, we are going on tour to Malaysia, performing in the lovely island of Langkawi, Penang and of course, Kuala Lumpur. It is a real treat to be able to perform with the local Malaysian actors in their hometowns. A real intercultural experience for all of us.

In Langkawi opening night is 24th May 2013. Only 2 evening performances at Sugar/Fat Cupid Restaurant at Pantai Tengah 8:30pm. In Penang, in combo with Penang PAC at their palatial premisses in Straits Qauy, Floor 3A. Opening night 31 May. 2 evening performances only & 1 Sunday matinee at 3pm. And finally in Kuala Lumpur, in Sentul West at the luxurious klpac complex. All performances are at 8:30pm on Friday and Saturday nights and Sunday matinees at 3pm.
For more information visit our Malaysia Tour page for ticket and venue details.

Lady Be Good starring Tegan Jones

From the creator () of Blues in the Night: A Cabaret inspired by the works of Eva Cassidy and Greenwich: The Music of The Village comes a cabaret inspired by the works of the First Lady of Song: ELLA FITZGERALD – LADY BE GOOD

Tegan is in our ACT showcase. To miss Tegan’s performance is to miss something great!
1-3 March & 8-10 March. All shows start at 7.30pm

All ticketing info available by Tegan’s website: www.tegan-jones.com

OUR MAN IN BEIJING is on to celebrate Cultural Diversity Week this 16th March

As part of the cultural diversity week celebration Our Man in Beijing will be staged at the ACT Studio, 11 Cole ST, Brighton, on Saturday 16 March 2013 at 8pm. All are welcome. Contact Moni on 0419367261 or [email protected] for tickets and details.

Written by Moni Storz, starring Ashley Macklin, Sharon Karina, Lee Ton, Jo Armstrong, Matt Friend & Phil Trainer, light & sound by Richard Lyford-Pike, stage design by Julia De Rosario and flyer design by Jacy Teh. Our Man in Beijing is directed by Wolf Heidecker.

A romantic comedy of intercultural mistakes. Will John Williams get his Chinese cover girl when what he knows about Chinese culture is one dim sum.

Our Man in Beijing goes to Country Victoria to raise money for Bushfire Victims

Sandy Point is our next performance of Our Man in Beijing at the Sandy Point Cafe/Bistro. When we heard about the fires in East Gippsland, we immediately thought it would be a wonderful thing to do. So cast and crew of OMIB got into gear and together with the proprietor of the Sandy Point Cafe, Peter & Judy Barry, the show is on! Saturday 16 Feb at 8pm and Sunday 17th at 2pm, admission by donations…will pass the hat round after the show. Come one, come all!

We can’t wait to get to Sandy Point…performing for a good cause, building inter cultural bridges amongst communities, how cool is that!

When there is love, money comes in easily – The Cross cultural Counsellor raised $1000!

A very satisfying effort indeed. The cross-cultural counsellor, the ACT’s first ChinDian performance raised a $1000 over three little shows for Prasad Australia. The skit can be the beginning of a fully developed play and let us hope that the writer Graham Pitts will now be encouraged to do it. The ACT’s mission is to promote intercultural theatre and a ChinDian sketch that is a fusion of Chinese and Indian staged in Australia, featuring an Indian Australian actress, Chinese actor as her stage husband, written by white Aussie Graham Pitts and directed by German Australian Wolf Heidecker and me as producer, an Australian Malaysian Chinese!! Talking about multicultural fusion eh? I love it! Thank you to all our supporters, fans and friends who came to the show.

What is an intercultural theatre: the story of the ACT

When a word is so overused that it can have so many meanings, eventually it becomes meaningless. Take the word Multiculturalism. Or “Asian” as used in Australia. The word “multiculturalism” is bandied around in Australia very carelessly especially by politicians when they are trying to be politically correct. If we are not careful we can end up using the term like these unthinking politicians and be guilty of excluding our black Australians/Aboriginal or indigenous Australians! When we say multiculturalism, unconsciously we do not think Aboriginal Australians. Not that I am advocating that we include Aboriginal in the term Multiculturalism seeing that the label is so meaningless.

Multicultural performances simply mean a whole lot of people from different ethnic backgrounds or countries (and therefore international) coming together and doing an event, as in the show Opera 1938 at the Melbourne Fringe (2012). Brilliant multicultural performance with Anglo-celtic, Italian, Aboriginal and Chinese languages and “historical” snippets from colonial Australia. Wonderful multicultural performance. There are many multicultural performances and events all over Australasia but we are short of an intercultural theatre in the southern hemisphere. The ACT is possibly the first in the world focusing on Australasians and Chinese. (I am still grappling with the term Australasian Chinese or Chinese Australasian! In the USA, they use “Chinese American” which I think is truer to the reality the Americans wish to describe! I.e. they are all American citizens and Chinese in the label describes the ethnicity of the person’s citizenship. But over here in Australasia, we simply use “multicultural”. See what I mean?). The ACT is intercultual notably because it is going to put on performances which are intrinsically “intercultural” in that two cultures or three or even four drawn from Australia and New Zealand. This is a challenge. For anybody. But not insurmountable.

Two plays Happy Ending by Melissa Reeves and my own Our Man in Beijing specifically reveal the cultural elements of both white Anglo Australians and Chinese people. The values intrinsic in both values are revealed if one knows both cultures for example, the Anglo value of egalitarianism and the Chinese value of hierachicalism ( no such word exists in the English language but it is the opposite of egalitarianism and I also believe that heirarchicalism is a value that describes more than half the world’s culture hence it is important that this word is used.)

That is why an intercultural theatre is necessary. An intercultural theatre specifically focuses on two ethnic peoples or cultures, for example, Australian and Chinese cultures. We blend whatever is Australian with whatever is Chinese. This is where the challenges emerge (as pointed out in my earlier paragraph). What is Australian culture? Does it include Anglo-celtic and Aboriginal ? What about the Australians from European and other Asian ethnic backgrounds? And what about the term Chinese? What is Chinese culture and even more challenging: Who are the Chinese? Every question merits a PHd thesis. Yes, these questions are academic but if language constructs realities and it does, shouldn’t we be educating the masses to use the appropriate words to refer to realities. The realities are that underlying the language we use exist feelings of prejudice and racism: twin evils in the world that have killed millions in terms of “ethnic cleansing” and history has shown us again and again that people have gone to war to do horrible things simply by naming and labelling. People are still doing that!

I name my theatre company an intercultural theatre and rightly so for it is narrowly and deliberately focused on Australian and Chinese cultures. It is an intercultural theatre in Australasia (that is, Australia and New Zealand) for it seeks to create opportunities for Australasian Chinese or Chinese Australasians. And now if we unwrap the term Australasian, it includes Anglo-Celtic/Gaelic, European Aussies & Kiwis, Aboriginal and Maori Aussies & Kiwis, and Chinese. This is an unique combo! No theatre company in the world has this combination of ethnicities and seek to create opportunities for these peoples. Come on Aussies, Kiwis and Chinese of all shapes, sizes and colours, let us get cracking and write plays and films that will blend our cultural elements, truly intercultural theatre!

Happy Endings By Melissa Reeves

HAPPY ENDING BY MELISSA REEVES
LAWLER STUDIO, MELBOURNE THEATRE COMPANY (September 2012)
Review by Moni Lai Storz

Happy Ending by Melissa Reeves is an intercultural play rarely found in Australia. It explores the relationship between an Anglo Australian woman in her forties and a young Chinese masseur. But this alone does make it intercultural. It is so because a number of key cultural issues, for example, the dining etiquette at a Chinese banquet, were satirized in the lines and in the scenes. An intercultural play must have certain issues from both cultures being acted out. In Happy Ending, some of these were in the intercultural psycho dynamics found in the relationships between the main protagonists in the many scenes which involve Chinese masseurs and Anglo Australian clients. Finally for a small portion of the play, both English and Mandarin were used.

In actuality, the play crosses borders on age, gender and ethnicity. Just on those variables, Happy Ending already won me over. In short, the play, wonderfully crafted in the hands of an experienced and established playwright such as Melissa Reeves is a total delight to watch from an intercultural viewpoint. Many of the scenes that move the action along are culturally plausible, and in fact, are derived from the sound and fury of “doing business with the Chinese” in the late eighties and nineties in Australia. Happy Ending replays some of the Australian experiences when dealing with China at the beginning of the globalization that swept the world, taking Australia in its wake.

The main character, Louise, is played by Nell Feeney. She is a character easily recognizable by many fortyish year old married women who are in the audience. Recognition always evokes laughter, nervous or otherwise in an audience. Feeney gave us a Louise that we can identified with: a woman caught in an intercultural situation with nothing to help her but her own ignorance. Ignorance can be a useful tool and in the end, it was a “happy ending,” a euphemism for sexual intercourse at the end of one’s massage session, so I was told. Her desperation led her to seek out a “China expert”. The role of the China expert was played very well by Christopher Connelly. The Chinese masseur, the object of Louise’s obsession was played by Gareth Yuen, an Australian born Chinese (an ABC). I love the way Yuen move his body to show his emotions ranging from fear, mild distaste, confusion, resignation and exploratory acceptance towards the “happy ending.” This is a vast range of challenging emotions to portray in a Chinese. (Chinese are taught not to show their feelings. Confucian ethic embedded in our unconscious culture). Yuen acted well. The role of Jie played by Fanny Hanusin was accomplished not without challenges. One of these was the fact that Hanusin is not a mandarin speaker, yet she had memorized her lines like a true professional. Unfortunately her “memorization” filtered through to the audience. I could clearly tell that she had memorized her lines. Keith Brockett who is half Chinese played the dual role of Wen and Jun. Always challenging playing two parts in one play. Keith was able to execute both his roles with smooth competence. He was a delight indeed! Roz Hammond who played Lilana was undoubtedly that of an artist. I think I like her performance the best in the play. She lived in her role. At no stage was I reminded that she was acting.

The set design is evocative of Zen or Chan Buddhism, and the changes in scenes are reminiscent of a moving meditative dance. Stilllness in motion. Together with the Chinese music flooding the theatre and the creative use of lighting the whole performance managed to retain its ‘chineseness’. All this ‘chineseness’ would have come to naught had it not been for the intercultural literacy of the direction. Director Susie Dee did an interculturally “good” job. A number of the intercultural and bilingual scenes could have gone wrong easily. (As it was, only the subtitles were placed too high and moved too quickly for middle age eyesight. But this was a technical issue, not one of direction). I sat through the whole 90 minutes performance without glancing at my watch. Happy Ending was aesthetically and competently accomplished in the hands of a cohesive cast and crew. I hope to see more intercultural plays such as Happy Ending
in Australia in the near future.

Telling Tales: Invitation to Storytellers in the USA

I am extending my invitation (beyond Australia) to American story tellers to join us in sharing your stories that are intercultural, that is, Chinese American. You may wonder why am I inviting our American friends to share your stories.
While doing research in intercultural or cross cultural theatre with a focus on Chinese theatre making, most of my search has taken me to the USA. David Hwang’s M.Butterfly leads me to his intercultural Chinese American comedy Chinglish. As a result, I am a fan of his now.
I also realise that in Australia, Chinese Australian story tellers are very few. We are a very small population compared to the number of Chinese Americans. Those who are famous in telling intercultural stories about Chinese and Australians are even fewer compared to the American ones. Names like Maxine Hong Kingston, Amy Tan and David Hwang, the playwright, are 3 great story tellers that come readily to mind in the USA.

Here is how you do it:
1.Send me a snippet, a tale, an anecdote or a short, short, very short story for my Chinese Theatre that is intercultural and in need of stories and plays to perform. It is just a snippet, a snap, a tale, a “story” to tell at a party or round a camp fire. So it does not have to be a well crafted written short story. As yet.
2.Length: not exceeding 500 words
3.It must be in English.
4.It must be intercultural – Chinese & American

Intercultural is defined as including some Chinese aspect or issue or person in your tale.
For example:
As a young Chinese student in Australia, I was invited to a party. My Australian friend Barbara told me to “bring a plate.” I brought an EMPTY plate. (In Aust, “bring a plate” means “bring some food”. Being Chinese, it was (and still is) unheard of to ask a guest to bring their own food.
In this snippet or anecdote, the Chinese is me, the person. But it could be an issue, an incident or even a made up tale.

WHAT DO YOU GET IN RETURN
And in return I will give you a gift. To show my appreciation for your time and effort, I will give you my ebook (The Young Poetess & Other Short Chinese Stories) in www.smashwords.com for free. If you don’t want this lovely gift, then invite me to your blog and I will make a comment and/or like your facebook page. Fair enough as we Australians would say!

Short Intercultural Stories, Snips & Snaps of Australian Chinese Experiences of Each Other

Hi Moni,
“I had my childhood friend over to my place for dinner when I was 12 years old. My dear Mum kept on pouring food on her plate while all my family were in normal loud conversation. Afterwards she innocently asked me if “were you having a fight?” No, I said “that is how we normally talk!”
Shirley (librarian)

When I took my German Australian husband to Hong Kong for the first time, he went for a walk by himself while I had breakfast in bed. He came back and asked me why were there so many people quarrelling in the streets. I told him that’s how Cantonese is spoken. Loudly and with strong emphasis.