Lantern, 2014
When Proudly Asian Theatre crept quietly into New Zealand Theatre in 2013, it was a vastly different landscape to what we see today. Now, in 2020 with new team members and multiple initiatives running concurrently, amongst a blossoming landscape of Asian creatives that has exploded into its own set of companies and collectives, PAT is no longer the sole voice in the crowd, but has helped spark a wave of Asian creatives in a movement that has no signs of slowing. We take a look at the changing face of PAT over the years.
Beginnings (2013-2015)
Two drama school grads in 2013, Chye-Ling Huang and James Roque formed what was then called Pretty Asian Theatre after a third year project put them in touch with David Henry Hwang’s first play, Fresh off the Boat.
“For me personally, it was from me not seeing myself represented in any theatre in New Zealand growing up. I had just finished drama school with Chye-Ling and looked out at the industry and went “there’s no work for us waiting out there”. I knew that systemic racism in NZ meant that no one was going to cast an Asian man in a lead of a Shakespeare play or a Roger Hall piece, so Chye-Ling and I figured that we needed to be proactive and change that.” - James Roque
With assistance from The Basement, FOB drew the attention of pioneering Kiwi-Asian playwright Renee Liang, who approached PAT for a remount of hit 2009 production Lantern. After a sellout season at the Maidment, James and Chye-Ling began seeing the fruits of their labour. Both employed across different theatre shows, the company had achieved what it had set out to do. But there was still an itch to be scratched - with the visibility of two Asian creatives doing it themselves, more practitioners came forward to express their support, and their willingness to get involved. But there were only so many stories to tell by Asian NZ writers, and overseas works weren’t quite resonating.
Rebranding (2016)
Enter the next production and a major turning point in PAT’s evolution - an original work, Call of the Sparrows written by Chye-Ling Huang and directed by James Roque, developed over two award-winning Short & Sweet performances, centering around the lofty themes of identity, tradition and immigration in a fictional, Ghibli-style world of mask, shadow and live music.
Short and Sweet 2014.
“I remember the thrill and the nerves of making those shorts, and the feedback - that others like us were excited about our stories. There was a cohesion that came from the relationships we’d been building on the fringes. The rehearsal period grew us into our roles - I remember the feeling of being able to breathe out in the rehearsal room - diaspora Asian performers dropping our guards and making something that felt like true collaboration. We threw everything into that show - to its detriment in part, but stretching us beyond what we thought we could create and be, as leaders, as artists.” - Chye-Ling Huang
Call of the Sparrows’ biggest achievement was arguably the change from Pretty to Proudly. There was a profound shift between seeing diaspora identity as shaky ground, an apologetic in-between, a self deprecating protective label, to landing in a place of pride - because, and not in spite of, nuanced and unique Asian identities. With designer Lindsay Yee, the new face of PAT was unapologetic, assured and bold.
Growing Pleasures (2017-2018)
2017 saw Chye-Ling stepping into the role of Creative Director, a natural shift as James’s career veered into comedy and Chye-Ling continued to expand into writing and directing.
‘The biggest shift for me as someone who started in a more hands-on role then transitioned into a more part-time role was watching PAT grow from a theatre company that was made to give US more work to a company that empowered other Asian artists in Auckland and give them work. With Chye-Ling at the helm, I watched PAT grow into a powerhouse name in Auckland theatre. For me, I also realised that I couldn’t commit full-time as a co-director of the company and that was part of my creative journey in focusing on comedy. However, in recent years, I’ve come to realise that PAT was no longer about us creating work for ourselves - but empowering other Asian theatre makers to make their own work too.’ - James Roque
Fresh off the Page 2019
“The conflict I felt when I became Creative Director of the company between focussing on my own career vs nurturing PAT has fallen away in recent years. In nurturing the creatives who want the opportunities to grow, I’ve found no shortage of passion for what PAT stands for. And it’s only growing more and more. I’ve realised that the best thing to do is to teach what we’ve learnt, pass the mantle and let our team guide and inspire us as much as we guide them. It’s only led to new and amazing things, and I can’t wait for the rest to come.” - Chye-Ling Huang
From then, PAT extended its whanau and clarified its intentions, setting up Fresh off the Page in 2017, monthly play readings to connect the community, highlight Asian writers and creatives and test material.
With producer Kelly Gilbride and a wider team of up-and-coming producers, Marianne Infante’s entrance from assistant producing intern was a catalyst for a second wave of growth, including film projects Asian Men Talk About Sex with Loading Docs and The Han Chronicles with TVNZ.
“PAT provided me with a community, inspiration, a pathway, opportunities and beyond. Being involved and growing with PAT gave me confidence and motivation to be strong in my own personal and creative voice as Filipino Asian artist.” - Marianne Infante
Roots by Oliver Chong was a result of a 2017 reading, and marked Proudly Asian Theatre’s first foray into a foreign language script (English and Mandarin), as well as Chye-Ling’s first time directing for the company.
This was followed by Orientation in 2018, a major turning point for Chye-Ling as an artist: “It was the first show I’d directed where it was all me - the words, the direction, and it was a real turning point for me to trust my vision, and my resilience if it all fell over (it didn’t).”
On the set of the shoot for the Orientation poster and trailer
New Voices (2019)
If the first stage of PAT involved international and established scripts, and the second involved creating their own, the third stage was all about giving a platform and supporting their collaborators. 2019 begun this year of collaborations with the Auckland premiere of Tide Waits for No Man: Episode Grace made with Nikita-Tu Bryant (who previously worked on Call of the Sparrows) after a successful 2018 development season in Wellington.
Fresh off the Page grew from strength to strength - shifting its focus from international plays by Asian playwright to local in 2018, before a bold move to premier a season of brand new scripts by Asian playwrights in 2019. 8 of the 10 plays have since been picked up for further development and workshops.
Fresh off the Page 2019 - all new plays.
A notable success story was the development and staging of NZ’s first Filipino play, PINAY, by Marianne Infante. From a playreading to a sold out season within a year, PINAY was an undeniable hit, and an example of the community and skillset PAT watered and fed over the years. A powerhouse in her own right, Marianne became PAT’s producer and shareholder in the company, cementing a new generation’s impact on PAT’s work.
In PINAY rehearsals.
“Presenting Aotearoa’s first Filipino-NZ production will always be a great joy and asset in my career...PAT and I created history in NZ’s theatre landscape. If you had told me 4 years ago that I will be in the position I am in now, working with like minded people, making a difference, supporting new artists, creating opportunities for artists like myself when I first started has and will always be an absolute joy and privilege that I will never take for granted.” - Marianne Infante
PAT’s kaupapa of up-skilling and mentorship is one of necessity, but has had a profound flow on effect. John Rata came on as PAT’s photographer, and now co-produces Fresh off the Page, Fresh Developments and other PAT initiatives.
John Rata for his play ‘Sweet, Sour & Salty’
“My biggest highlight so far has been the steady process of knowing more and more people involved in our arts community. I enjoy the talks pre and post our events, along with the in-between spaces of time during projects (ie photographing headshots, project meetings, waiting times) where we have opportunities to talk and develop the relationships with the people we’re working with. It’s given me more confidence to tell my own stories and to be aware that there are more Asian voices that need, and want, to be heard - and in which PAT, and myself, can foster that same confidence in. PAT has also made me feel like I am part of a family, consisting of such amazing and hard working people, from my colleagues to our collaborators. It’s been great to have these role models in my life.” - John Rata
Similarly, Alyssa Medel was brought on through assisting on projects, and now co-produces the above initiatives with John:
Alyssa at a Fresh off the Page reading.
"I LOVE how I’ve just been able to meet so many creatives through PAT. I love how from my last semester at uni, into my first year in the “real world” I’ve been guided by my PAT whanau, in navigating the big creative world, while staying connected to my Asian identity, and exploring more of what that meant in my creative practice. PAT really shows how important it is to foster new talent, and how that support goes a long way in forging new paths for our community.” - Alyssa Medel
Here and Now (2020-)
A plethora of new companies such as White Mess, Creative Creatures, Oriental Maidens and established staples Indian Ink, Prayas Theatre, the Oryza Foundation, Satellites and productions led by Renee Liang, Ahi Karunaharan, Alice Canton and Julie Zhu now fill the landscape. PAT has been a key part of the re-aligning of the theatre industry toward inclusivity, empowerment and community.
With the support of Creative New Zealand’s Covid emergency grants, PAT were able to weather the storm of Covid-19 through lockdown and the shutting down of live performance. New challenges unexpectedly sparked a creative surge. Marianne Infante’s Breathing Space videos of interviews with Asian practitioners gave a window into the conflict and inspiration felt by artists redefining their identity outside of work. Fresh Developments, which was planned as a workshop series for four writers, became a series of online essays and paid research projects. Fresh off the Page experimented with radio play format for play Black Tree Bridge under level 4 social distancing. A funded website refresh to cater to the online adjustment to live theatre allowed PAT to reflect, archive and showcase works.
The recording of Black Tree Bridge under lockdown.
With the reopening of theatres uncertain, PAT continues to forge forward and has plans for Fresh off the Page to return to The Basement, and shows and workshops in 2021. Whatever the future holds, PAT will be a part of it - and making sure that Asian representation is at the fore.
”I’m excited to see all the other Asian talent out there that has yet to be discovered in Aotearoa. I know they’re out there and I’m sick of theatre companies and onscreen production companies using the “but there isn’t any good people of colour to use in our show” excuse. It’s bullshit - and I can’t wait to see the next generation of Asian artists shine.” - James Roque
“I never thought PAT would be what it is today. I’ve been humbled to find others who fight as fiercely for our stories to be told, and I’ve learnt to share the load to be able to aim big and reach higher goals. It’s given me a feeling of freedom - I think, starting out, my aim was to be ‘mainstream’, to work with big theatre companies and get on the same playing field. While I think we are, and that is still important - what’s crucial now is that we don’t need to change ourselves to fit into a box anymore. Our art has a platform and an audience all of its own, and that is priceless.” - Chye-Ling Huang
Collected by Chye-Ling Huang, Edited by Nathan Joe