Finding roles for ‘niche exotica’ East and Southeast Asians
Daniel Nelson
British people of East and Southeast Asian heritage are still regarded as “niche exotica”, says writer/ actor/ filmmaker/ musician Daniel York Loh.
Their racial heritage is not regarded as being in the mainstream of the British way of life, he says.
In theatre, “anything of East and Southeast Asian heritage has either been plays from America or just faithful retellings of historical incidents that have taken place in Asia…”
In comparison, “South Asian and Black African and Caribbean stuff is regarded as more British.
“I’m not suggesting that Black writers or South Asian writers have it easier, by any stretch of the imagination,” he emphasises, “but there’s a sense that they are part of Britain — whereas Chinese, No, I don’t think so.
“The Black voice of Britain has been incredibly powerful, inspiring, and the mainstream White establishment is very aware of how powerful that voice is. South Asians, also, to an extent, whereas there is a sense that Chinese, Southeast Asians, are a tiny minority and a minority that struggles to assert itself in many ways.”
This working class son of an English mother and Chinese father has been asserting himself and fighting prejudice and stereotyping for many years. His own past — including dropping out, car theft and drug and alcohol rehab (where he became interested in theatre) — and his many skills defy categorisation.
It all came together in his semi-autobiographical play at the Soho Theatre, The Dao of Unrepresentative British Chinese Experience, “A psychedelic gig-theatrical punk pop rap rock riff on what path to choose, which identity politics to embrace or whether it’s just easier to follow the ‘Dao’ of ancient Chinese philosopher Zhuangzi and dream you’re a butterfly. Or, be a butterfly dreaming of being ‘Chinese’.
A psychedelic punk rock riff on what path you choose, which identity politics you embrace or whether it’s easier to be a butterfly dreaming of being ‘Chinese’ Or, be a butterfly dreaming of being ‘Chinese’”.
A review in Broadway World described the play as “highly intelligent … groundbreaking new work”. Loh rates it “as bold as anything I've ever written.”
He hopes it will be staged elsewhere in Britain, if it can overcome the conservatism of theatre’s “gate-keepers” who decide which plays theatres will choose, and the difficult times facing theatre generally.
“Theatre is a dying art form,” he says pessimistically. “I don’t think it’s sustainable in the long run.”
That would be a loss. Because he admits the theatrical barriers against East and Southeasian writers and actors are gradually being breached and because his personal brand of entertainment and serious content is so well fitted to the stage.
The Dao of Unrepresentative British Chinese Experience, £15.50-£30, is at the Soho Theatre, Dean Street, W1, 19 June until 13 July. Info: https://sohotheatre.com/events/the-dao-of-unrepresentative-british-chinese-experience/ Soho Theatre