Theatre Review: Single Asian Female & interview with Courtney Stewart


Single Asian Female opened at Belvoir St Theatre on the weekend to an excited (sold out) audience and it’s the first Australian mainstage play to feature three Asian leads! This play is stylish and entertaining. It’s about an Asian-Australian family that owns a Chinese restaurant (The Golden Phoenix) in Nambour. The head of the family is Pearl, the quintessential matriarch – balancing family, business, and her love of karaoke, who runs the restaurant. She has two daughters, Zoe, the eldest, a classical musician, who’s in the throes of online dating, making big life decisions and Mei, the youngest, a teenager, struggling with her identity in modern Australia.  Pearl is constantly questioning her Westernised daughters, as they see the world differently to their mother. In the first act she reveals a secret that threatens to tear their family apart.

Playwright, Michelle Law’s frustration with the current theatre scene motivated her to write her debut play.

‘It shines a spotlight on labels; those we assign ourselves and others, and how we struggle against the limitations imposed by those labels in order to lead authentic lives…’

Last year, Single Asian Female was staged as a 60-minute reading of an untested playwright with support from La Boite and its partners, (Contemporary Asian Australian Performance & Playwriting Australia). Law has been given room to grow the story, and workshop it extensively. She has successfully helped change the landscape of Australian theatre which, over the years has been quintessentially white, by portraying this modern play representing multicultural Australia.


This production is exceptionally cast, with underlying tones of racial discrimination presented in a comedic way through its characters. In the first act we see Pearl in a cheongsam belting out I Will Survive, on top of a table in her family restaurant. We then learn about her hardships, how she survived through her marriage breakup and her resilience in bringing up her two daughters. Zoe being the peacemaker, and Mei who constantly wishing she was white like her school friends, Lana and Katie.

I had the honour of interviewing Courtney Stewart who plays Mei. Her performance was strong and truthful in playing a teenager growing up Asian in Australia.


Joy: What made you want to do Single Asian Female?

Courtney: After being involved in a reading of Single Asian Female, I ruthlessly pursued the development of this work. The dialogue is hilarious, the characters are unique and I believe wholeheartedly in the transformative power of this story. As a result of our season in Brisbane, there was a horde of new audience members finally seeing their faces and hearing their voices on stage. The power of representation is immense ~ and I really wanted to be a part of that.
Joy: What did the audition process involve?
Courtney: The audition process involved me reading a couple of scenes with Claire Christian (the director) and Michelle Law (the writer). We ended up in hysterics over the larger than life characters, but also dove into the heart wrenching reality of their personal dilemmas. Right from the start it was a collaborative process, which is by far my favourite way of making work.

Joy: What is your view on diversity in the arts (theatre, film. T.V)?

Do you see changes since the Diversity committee was formed?
Courtney: I say this to as many people who will listen: I believe it is the most exciting time to be an artist from a diverse background. There are opportunities that exist now that weren’t around when I started out in this industry and I can see how the Diversity Committee has been a valuable player in changing our monocultural Theatrical landscape. The Committee opens up channels of communication with major players in theatre, film and television so conversations around how to engage new artists can be had.
Joy: Where do you see yourself in 10 years time?
Courtney: In 10 Years time I hope to be an artistic director of a major theatre company so I can be at the helm of making decisions that push towards a more cohesive and evenly represented industry.

I enjoyed watching this play because I feel it’s important to reflect diversity of our modern society on stage, so as a result -people feel that they belong.

Single Asian Female is currently showing at Belvoir St Theatre until March 25th, 2018.

18 & 25 Belvoir St Surry Hills
NSW 2010 Australia

Cast: Emily Burton
Lucy Heffernan

Patrick Jhanur
Alex Lee
Courtney Stewart
Hsiao-Ling Tang

By Michelle Law
Director Claire Christian
Set & Costume Designer Moe Assaad
Composer & Sound Designer Wil Hughes
Lighting Designer Keith Clark
Stage Manager Peter Sutherland
Assistant Stage Managers Katie Hurst & Keiren Smith

Photos courtesy of Belvoir & Michelle Law.

Remembering actor John Mahoney


When I heard that actor John Mahoney died last week, it felt like a relative had passed away in the family. Mahoney’s warmth and endearing presence on the hit TV show, Frasier, had touched and moved me in the late nineties. I felt a part of me had died when I heard this news. He played Frasier’s father, Martin (Marty) Crane, a retired cop whose character was honest, a down to earth family man, with a big heart and a wonderful captivating laugh.

Along with Kelsey Grammer and David Hyde Pierce, who played his sons, Mahoney had driven the Emmy-laden sitcom to its position as one of the highest-rated shows on television at the end of its fifth season. He was remembered alongside Eddie, his beloved dog, who used to constantly stare at Frasier.

My favourite Marty Crane episodes included the one where Frasier tried to replace his old, duct taped chair with a new one and Marty gave a heart felt speech stating that his old chair meant the world to him because of the memories it brought to him of his late wife and when Frasier was born. Another favourite episode was when he mimicked Daphne whining, as she desperately wanted to change her hair style like Princess Di but didn’t. And finally an earlier episode when he had just dyed his hair to look younger for a date and the hair dye was dripping at the back and had left marks on the head rest of a chair and he didn’t want to move because he didn’t want his date to discover he had dyed his hair.



What I didn’t know about Mahoney was that he had a daily mantra. This was revealed in an interview with Francis Guinan, when he talked about his play Rembrandt (in Chicago Tonight). Every day he used to say, “Dear God let me treat everybody, including myself. with love, respect and dignity.” He has said that he wasn’t a religious person but a spiritual one and believed in being “kind and nice as you can be.” It was important for him to be liked, because then he knew that he was fulfilling his mantra.

In the mid 1980’s he suffered from colon cancer (and later lung and throat cancer) and wasn’t able to have sex following a colostomy, so he didn’t want to be involved with anyone because he didn’t want to be a burden, so he chose to be single for the rest of his life. (What a kind, selfless man he was.)

And for the past 20 years, Mahoney spent Christmas at the home of Chicago theatre producers Jane and Bernie Sahlins: “It’s Christmas dinner for Jews and atheists and other alienated people,” says Patinkin, who also attended. “We drink, we sing Christmas carols, we put on silly hats, and we have a really nice time.”


John Mahoney was born Charles John Mahoney in Bispham, Blackpool, England (June 20, 1940 – February 4, 2018). He moved to the U.S. in 1959 when his sister Vera agreed to sponsor him and he studied at Quincy University, Illinois. He taught English at Western Illinois University and then served as an editor for a medical journal. Mahoney wasn’t satisfied with his career and so it wasn’t until he was 37 that he started acting. He took acting classes at St. Nicholas Theatre, which inspired him to resign from his day job and pursue acting full-time. It was after a stage production in Chicago in 1977,  when John Malkovich encouraged him to join Steppenwolf Theatre. Mahoney won the Clarence Derwent Award as Most Promising Male Newcomer, then later Broadway‘s Tony Award for Best Featured Actor in a Play for his performance in John Guare‘s The House of Blue Leaves. His first major film role was in the 1987 for Barry Levinson film Tin Men. He went on to have roles in films in the 1980s and 1990s, including Moonstruck, Eight Men Out, Say Anything…, In the Line of Fire, Reality Bites, and The American President appeared in two Coen brothers films, Barton Fink and The Hudsucker Proxy. He then appeared on Cheers (in a guest role) from which Frasier was a spin off series. Here he made a huge impression on the producers and Kelsey Grammer and was then asked to play Martin Crane on Frasier from 1993 to 2004.


“I don’t want to be someone people feel they have to take care of and look after and entertain and make sure I’m happy. I can’t stand the thought of that.”

When he was asked about settling down with someone, he said that time has passed. “I just don’t have time for it, to tell you the truth,” Mahoney said. “And I’m of an age now where I think that, closing in on 60, I’m resigned to the fact that a good book and a CD and a glass of Jameson’s is probably going to be my companionship for the rest of my life.”

“The theatre is my brothers, my sisters, my father, my mother, my wife,” Mahoney has said. “It is everything to me.”


THANK YOU JOHN MAHONEY for the laughs and for the inspiration. You’ll be greatly missed. I’ve learnt a lot from you and may your legacy live on.



It doesn’t matter if you’re 20, 30, or 40, finding the value of being curious about everything you don’t know and following a passion or a hobby (as long as it gives you joy) and taking calculated risks in your life can pay off. As long as you’re happy and true to yourself and show respect to others – that’s the answer to good mental health and longevity.

Also self check – keep a healthy ego by respecting other people and yourself and don’t sweat over the small things in life because life’s too short. We’re all equal after all and part of the human race.



Photos courtesy of NBC, Frasier, Kelsey Grammer, Michael Brosilow / Steppenwolf Theatre), Dailyovation, Brandon Ramos & Jamie Divecchio Ramsay.



The Casting Game (feature film) by Joy Hopwood

The Casting Game is an ensemble piece that highlights the journeys of a group of unconventional actors trying to make it big in Sydney, an Asian-Australian family trying to make a visiting relative feel at home with Might- T- mite and meat pies, and a seemingly ill-fated love.

Gary is a 35-year-old brick layer who has had no luck in love. On a night out with his high school mates – Lynn, Indigo, and Luke – he ends up in a bet to see if he can land a date with the next woman he sees. Along comes Sarah, a beautiful radio producer who is in a wheelchair.


In a Love Actually meets Muriel’s Wedding in a modern day twist, this film explores what it means to find happiness and joy in a diverse, dynamic world, in a beautifully fun and meaningful way.

An Aussie story full of heart and triumph amongst a diverse group of friends, The Casting Game is a relatable story that tugs at our heartstrings while making us laugh. It reminds us that we can find belonging in unexpected places.


Writer / producer, Joy Hopwood, wrote the screenplay just under two weeks after watching a film last September in 2016 and was inspired to write something just as good with diversity at the forefront!

“In our current modern society, I feel that it’s driven by ego, self importance and over evaluation, this film takes us on a journey and reminds us, in a subtle way, what it’s like to step in other people’s shoes from all walks of life and to be mindful of others. I feel that’s what our society is missing – mindfulness and humility. My aim is to entertain people yet bringing that sense of community back into our society, which I feel is desperately missing,” says Joy.



Leading lady, Stacey Copas says, “when Joy asked me to act in her film at our first meeting together I couldn’t believe what an amazing an opportunity it was and I pretty much jumped at the opportunity right away! I’m passionate about everyone getting an equal opportunity and I’m so inspired by Joy and the whole team who have poured blood, sweat and tears into getting the project off the ground. Our camaraderie and joint purpose on set can definitely been seen in the final edit. I’m really proud of the Casting Game; its beautifully told story which everyone will be able to relate to.”


Supporting actress Erica Long says, “During my script read, I found that with every page I turned, I became more and more immersed in the characters’ lives. The characters are all so different (in terms of their personality, ethnicity and personal background) and I loved reading about how they interacted with each other – it’s not everyday that you read a script, which reflects our multicultural society. There’s also so much warmth and hilarity in the script – I knew instantly that I wanted to be a part of the transformation from paper to screen. Pearl Tan (director) and Joy Hopwood (producer, writer and actor) are champions of diversity in this country and you really see this come across in The Casting Game. Joy specifically incorporated into her script a group of friends from different ethnic backgrounds, an intelligent and beautiful woman with a mobility disability, 2 Australian-Chinese sisters (who are more Aussie than Chinese!) and their long lost sister from China. It’s quite a feat! The different characters’ backgrounds of course contribute to the story but the characters are not reduced to a stereotype (e.g. your Asian nerd). During rehearsals we created each character’s own backstory and Joy was happy to make our suggested script changes to ensure that we were each happy with the complexity of our characters. When you watch the film, you will see that Joy has weaved a series of funny and nuanced stories together into a coherent whole and, simply put, you will forget about “diversity” as such – the end result of Joy’s hard work is that you just focus on how the characters interact with each other.”


When asked, “Why did you want to act in The Casting Game?” Supporting actor Nicholas Brown says, “I’ve been a fan of Joy Hopwood and Pearl Tan for a long time. I met Joy several years ago when we both made speeches for the Asian Alliance for parliament We both found a synergy because of our experiences as non Caucasian actors in Australia. Pearl and I have written and worked together for several years. I’m inspired by both of these amazing women, their advocacy and their creativity. Besides fluffing I’d do anything on film for them! Plus it’s rare to see a cast so diverse in Aussie cinema. The fact that there’s no major reference to anyone’s ethnicity is refreshing. The cast are all Australian who just happen to be from diverse backgrounds. My character is a brickie! I love that. The actors have been cast against type and this is exciting and rare.”

The Casting Game, written & produced by Joy Hopwood (Joy House Productions) and produced by Priya Roy (Vissi D’Arte Films) and directed by Pearl Tan (Pearly Productions) premieres at the annual Joy House Film Festival September 10th, 2017. 4.30pm at Hoyts




Book Review & Interview with Anita Heiss


Kicking Goals by Anita Heiss, Adam Goodes & Michael O’Loughlin.

Anita Heiss is an Australian author working across a range of areas: children’s literature, chick literature, non-fiction, historical fiction, commercial women’s fiction, poetry, social commentary, extending her reader’s knowledge and understanding of contemporary Aboriginal life in Australia. She’s a wonderful role model for the National Aboriginal Sporting Chance Academy and an Advocate for the National Centre of Indigenous Excellence and an Indigenous Literacy Day Ambassador. Kicking Goals is her latest book which is a collaboration with former footballers Adam Goodes and Michael O’Loughlin.


Adam Goodes and Michael O’Loughlin are AFL legends, blood brothers and great mates. They’re two of the best footballers ever to play for the Sydney Swans. But how did they meet and become mates? What were they like when they were kids? What did they get up to at school? And what was it like to go from being normal teenagers to AFL superstars? These are popular questions kids would love to know. And all of these questions are answered in Kicking Goals where they tell their stories of friendship in their own words, as told to Anita Heiss.


My favourite parts in this book are the moments where Adam and Michael reveal their humility and kindness.

Michael says, “Adam’s friendship means a lot to me. The toughest moment for me was the death of my grandmother, and Adam was really solid. With those types of things, and with my family living thousands of miles away, you need to be able to rely on each other.”

And Adam says, “Kids can be leaders by helping others who might be struggling to learn. If you’re really good at something, you can help teach other people your skills.”

I was lucky to interview Anita Heiss earlier this year.

Lin Wong: What do you do each day that gives you joy?

Anita Heiss: Starting my day with a run gives me joy – this may be along the Brisbane River, Maroubra Beach (Sydney) or around Treasury Gardens (Melbourne) depending on where I am on any given day. Running clears my head, helps me work through my storylines and makes me feel good about myself and the day ahead.

The second thing I try to do most days is have a coffee with a tidda. The venue really doesn’t matter; it’s just the time to yarn, debrief, laugh and quite often plot that brings me joy.
Lin Wong: What do you do to stimulate your creativity?

Anita Heiss: I people watch. I talk to people. I put my running shoes and hit the pavement. Sometimes, I just lie down and clear my head of anything that is not about what I am supposed to be focussed on, because the one thing that stifles creativity most is a head full of chaos about things unrelated to my current project.

Lin Wong: What has inspired & motivated you to write your first ever book?

Anita Heiss: I was at UNSW doing my Honours degree and realised nearly every book on the shelf about Aboriginal anything was written by a non-Aboriginal author, and even authors who had never been to Australia. I knew that my responsibility as someone with access to education was to provide a voice for those without. My first book Sacred Cows (Magabala Books, 1996) though was really a statement to say that we (Aboriginal people) could equally write about non-Aboriginal people because we have been socialised, educated and employed though white institutions.

Kicking Goals is Anita’s latest kids’ book and I give it a 9/10.

Well done and congratulations to her, Adam Goodes and Michael O’Loughlin for creating great kids literature.


Unearthing Creativity with Elizabeth Gilbert at Seymour Centre (Sydney Writers Festival)

One of my favourite Sydney Writers Festival events so far is Unearthing Creativity with Elizabeth Gilbert. I love her honesty, wisdom and humbleness when speaking to an audience of hundreds at the Seymour Centre. I must admit I tune out and am no longer a fan of those who are arrogant and think they’re better than the average person because in reality, we’re all part of the human race and experience the same emotions, fears and even life’s ailments! But with Elizabeth Gilbert, she never fails to inspire.


I particularly enjoyed hearing her thoughts on creativity, embracing it and facing the world with courage and not fear. At sixteen she made a vow to herself, it was the day she got married to writing and committed herself to a life of writing. She said, “I will support you and you will support me. I will take care of us.” Elizabeth feels that everyone starts off being creative. “Everyone is curious. If you put Lego in front of a child, no child is going to say, I’m not into this today.” The result of someone not being creative is partly due to the fact that someone earlier on in their lives put them down, perhaps a teacher or a parent, or friend. And usually when the person re-enters their creativity again, they start where they’ve left off as a child. They start writing or painting or drawing where they’ve left off. Elizabeth says, “There’s no good reason to not do it. Nothing else makes you feel connected to people. Choosing a life of creativity is a path of curiosity not fear.”

Screen shot 2016-03-06 at 7.48.01 AM

She then went on to explain that there are two levels of creativity, one that is driven by ego, who is competitive and is never satisfied and the other that is unfolding something that is soulful and content in one’s own path of curiosity, no one else’s. To be creative, you’re in “the zone” – being engaged in the flow or stream. Also it is “a break from the anxiety of who you are. That is Big magic!”

Elizabeth encourages people to do something creative for thirty minutes a day, and eventually, “maybe not the first day but maybe on the 10th day, big magic will happen!” When writing, Elizabeth writes as if she is talking to one person. She feels that if you are talking to everyone, no one will hear you, but when you are writing as if you are talking to one person, everyone will hear you. With her first book, Eat Pray Love she is writing as if she is talking to her friend – Darcy.

Screen shot 2016-03-06 at 7.53.57 AM

When a person in the audience asked her, “I’m worried about my friend making a the wrong creative decision in her life…” Elizabeth answered, “You should be only worrying and focusing on your own path, not your friend’s. She has her own path to learn and make mistakes from.”

Another audience member asked, “I want to start writing a book but I’m worried about what a family member will think.” Elizabeth replied, “You should ask yourself if that’s an excuse playing in your mind to not want to start writing and do the work, because most of the time, the thing you think someone will be upset about will not be the thing the person is upset about.” Elizabeth gave an example of how someone was upset about a reference that they had size 11 feet, nothing else but just that! The crowd laughed.

“Do you still meditate?” one audience member asked. Elizabeth replied, “I take silent baths which replaces my meditation.” Everyone laughed again. “Some people may call it napping but I call it my ‘silence bath’ and afterwards I feel much better and ready to be creative.”


Who better than to hear Elizabeth Gilbert speak – the creative guru herself! They always say, life’s about learning. That was one good creative life lesson jam packed into an hour session. Thank you Elizabeth.

Big Magic is out now at all good book stores.

Fabulously Creative with Walter Mason

Walter Mason did a wonderful Fabulously Creative workshop for writers this week at Ashfield library.

Walter Mason main pic

Walter’s first book, Destination Saigon was published at the age of 40 and says, “Anything fabulous can happen at any age in your life!”

He started the workshop with us closing our eyes and we had to think about our intentions for the workshop, “What I want to do is…” and then after a minute or so Walter rang a beautiful sounding bell, reminiscent to the bells you hear at temples. The beautiful sound echoed through the room, I felt like I was being transported into a Buddhist monk retreat.


He shared with us “fabulous people” who inspired him as a writer. They include:

  • Rabelais (1483-1553) who came to Walter in a dream and was a writer, monk and Greek scholar. He has historically been regarded as a writer of fantasy, satire, master of crude jokes and songs. He was a monk who often wrote about getting drunk and many other salacious stories. The lesson he learned from him – “Write warmly and take delight in everyday life.” A wonderful Rabelais quote was, “Wisdom can’t enter an unkind heart.” I really love this quote.
  • Ouida (1839-1908) was the pseudonym of the English novelist Maria Louise Ramé. She lived at Langham hotel in London and ran up huge hotel and florist’s bills, and commanded soirees that included soldiers, politicians, literary lights (including Oscar Wilde, Algernon Swinburne, Robert Browning and Wilkie Collins), and artists (including John Millais), “A little scandal is an excellent thing; nobody is ever brighter or happier of tongue than when he is making mischief.” The lesson learned – “Go to the places that inspire you.”
  • Baron Corvo (Frederick Rolfe) (1860-1913) was an English writer, artist, photographer and eccentric. He often carried eccentric and peculiar notebooks and pens and often had a story to tell for everything he had. Lesson: Write extravagantly and with style, and always keep eccentric notebooks.
  • E.F. Benson (1867-1940) An English novelist, biographer, memoirist and represented England at figure skating. He was a precocious and prolific writer, publishing his first book while still a student. Principally known for the Mapp and Lucia series about Emmeline “Lucia” Lucas and Elizabeth Mapp. Lesson: “Observe the world minutely and always look for stories in people and the places you encounter each day.
  • Edith Sitwell (1887-1964) was a British poet and critic and the eldest of the three literary Sitwells. She often spent one day of the week in bed! She had an ostentatious style due to her costumes and was an outrageous person, born with a twisted spine. Lesson: “Be noteworthy.”
  • Vita Sackville-West (1892-1962) was an English poet, novelist and garden designer. Lesson: “Cherish every moment in life and write about it. There is never a perfect time-all stages of life are worth celebrating.”
  • Elinor Glyn (1864-1945) was a British novelist and scriptwriter who specialised in romantic fiction which was considered scandalous during her time. Lesson: “Romance is the glamour which turns the dust of everyday life into a golden haze.”

walter mason 1

We then did some fabulous writing activities. They include the following:


Walter asked us to write a 50 words blurb about ourselves within 5 minutes. There was however one other small restriction placed onto us, and that was that we had to include one special word – one that was pulled out from his blue bag filled with typed words. My special word was, DROP!

So I wrote – Joy Hopwood’s a creative who works in the arts and entertainment industry. She founded the Joy House Film Festival and does creative kids workshops in schools as part of her “Kindness is for Free” workshops, an anti-bullying and racism initiative, with her DROP dead gorgeous Wong Side of Life puppets.

We all read out our blurbs and some other people had to include words such as “damage,” “bang,” “bake,” “pumpkin,” “chase” and so on.

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We then had to write down a time in our lives that made us think we were writers.

I recalled a time in year 7, at school, when our class had to write down procedures of looking after our pets. I wrote about my pet goldfish and at the end of my story I wrote, “This is how I look after my goldfish, even though he died last week!” After reading it out loud, the classroom erupted into laughter and my teacher said, “I always enjoy reading your work Joy, because of the honesty and humour you put in your stories. Your stories often put a smile on my face.” This was the first moment in my life that I thought I could be a writer.


Walter made us all address our fears and told us of an incident when one writing teacher told her class to get their names printed on business cards with one word job description underneath – “WRITER.” This affirmation made the class think differently about themselves. One of my favourite activities was when we all had to draw a vertical line in the centre of our pages and write down our fears on the left side and then a positive counteraction on the other side. For example on one side of the page I wrote, “My writing is untidy,” and on the right side of the column I wrote, “My writing is neat,” and so on. After everyone wrote down their lists of fears we were then instructed to tear off and throw away our fears and have our positive affirmations displayed near our computers or writing place. Walter stressed that it does matter how we talk to ourselves and that he once completed a 12-step programme of, “Fake it until you make it!”


Writing and telling a story in 300 words is called flash fiction. By starting the story off with the action makes the story immediate and dynamic. Many flash fiction stories omit the set up of the story, and just went straight to the action.

For example, “My bird flew out of hands and dived into a world of the unknown…” or “He walked out on me after I confessed…” and so on.


Walter told us about Twyla Tharp’s prompt box. Tharp is a dancer and choreographer who’s produced over 130 dances and ballets over the last 40 years. She believes that creativity can be learned and implemented for the world to savour and enjoy and often uses the “prompt box” technique. Twyla Tharp explains her filing organisation/ creativity project started system: “I start every dance with a box. I write the project name on the box, and as the piece progresses I fill it up with every item that went into the making of the dance. This means notebooks, news clippings, CDs, videotapes of me working alone in my studio, videos of the dancers rehearsing, books and photographs and pieces of art that may have inspired me. he box makes me feel organized, that I have my act together even when I don’t know where I’m going yet. It also represents a commitment. The simple act of writing a project name on the box means I’ve started work.”



Walter also told us about his creative teacher, Jan Cornwall who has “creative shopping bags.” Each bag holds items that inspire the writing process. Walter said that his teacher has one bag titled – My memoir, another – My creativity and so on. This is another wonderful creative idea for story and writing stimulation.

Like myself, Walter has journals. He says journal writing stimulates a part of our brain into action. By writing one page a day, in bullet points is a great start; you can use it for articles or for writing a book. To conclude the workshop we wrote down our future dazzling successes, in five years time.

I asked Walter what gives him joy in his life and he replied, “It gives me joy doing the thing I want to do. It gives me joy helping other people, realising and reaching their dreams. I get really excited when I see other people doing something they want to do and if I can help them in any way it really thrills me. It gives me joy being with people I love and it gives me joy to be loved in return. It gives me joy that I have done something that makes someone happy.”

Destination Saigon   Destination Cambodia

Walter has two books published, Destination Saigon and Destination Cambodia, I strongly recommend them. He writes with great passion and humour. He has a few talks and workshops coming up. Here’s the link


Interview with Alex Lykos (Alex and Eve the movie)

Alex Lykos grew up in Australia. In the early 1990s he won a tennis scholarship at the Western Kentucky University. Lykos continued playing tennis at a professional level until returning to Australia in 1999. He then began writing film and play scripts, and in 2006 formed the Bulldog Theatre Company. Alex wrote several successful stage plays including Alex and Eve, Better man, A Long Night and It’s War. Last week I interviewed this successful, multitalented, yet humble actor / writer whose work is to be commended because his stories and selection of cast always reflect diversity in modern Australia.


Alex lykos 1

1) When you were growing up in Australia who were your role models?

Actually, when I was growing up I was as far removed from the arts as possible. I used to play tennis and my idols were Ivan Lendl, Mats Wilander and Michael Chang…Once I got into the arts, I admired the work of Woody Allen and Cameron Crowe.

2) What made you want to break into Australian Theatre / TV / Film?

When I finished playing tennis, I was at a crossroads. I was a bit cheeky in school so I thought, at the ripe old age of 28, why not do an acting course. I found I enjoyed it. In the meantime, all the photos I took while I was in America, I placed in an album and wrote little bits about each photo. I found I enjoyed that and then proceeded to write a story about my time in America…which by the way I read again, about 6 months ago and is by the worst screenplay in history!!!



3) What motivated and inspired you to write Alex and Eve the play and then the movie?

I had watched several romantic comedies and they all came from a the female’s perspective. SO I wanted to write a story which explored the angst a mid 30s male has in trying to find somebody. Then I had met someone from a different religious background and thought, mm, that might be interesting to explore. Put the two ideas together and Alex & Eve was born.

4) Do you see a positive change to colourblind casting in Australian film/ TV / Stage & do you incorporate this in your writing & casting?
I actually am starting to see that there is a bit more of an effort to cast CALD actors. Its a process and hopefully films like Alex & Eve, UnIndian and televisions shows The Principal will continue to aid in the changing of the guard so to speak.
5) What changes do you want to see happen in the entertainment industry?
There are all kinds of changes that I would like to see happen. More of  a focus on Australian content across theatre, TV and film would be great.

6) Alex and Eve the movie is coming out in October, what do you want audiences to take away from this movie?

If the audience goes away smiling having had a good time and perhaps have a bit of a think about their own views about people not from their ethnic background, then I would be pleased.



Alex and Eve is in cinemas on October 22, 2015.

                                         ABOUT ALEX AND EVE

ALEX AND EVE is based on the hit stage play by Alex Lykos, who also wrote the screenplay and was produced by Murray Fahey. The original stage play was first performed in Sydney in 2006, since then over 35,000 people have seen productions of the play in Sydney, Melbourne and Adelaide.

Alex and Eve is directed by Peter Andrikidis and stars Richard Brancatisano and Andrea Demetriades as star crossed lovers whose parents forbid them to marry. Alex is a handsome school teacher in his mid thirties and his parents want him to marry a good Greek girl. Alex falls hopelessly in love with the gorgeous Eve, a lawyer, whose parents are Lebanese Muslim. Like oil and water, the two should never mix, only how can they stop themselves from falling in love?

Executive Producers Martin Cooper, Bill Kritharas and Producer Murray Fahey secured finance for the production in 2014. Filming commenced June 2014 and took place over five weeks in Canterbury, Lakemba, Glebe, Haberfield, Homebush, the Rocks, Croydon, Belmore, Auburn, and Leichhardt.

ALEX AND EVE is a family comedy about dating in modern day multicultural Australia.

Photos and Alex and Eve synopsis courtesy of Alex and Eve the movie.

“Colourblind Casting Prevails” (Joy’s interview with Tony Ayres in this month’s MEAA magazine)

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Interview with Remy Hii (Marco Polo, Better Man, Neighbours)


Remy Hii is an Australian actor. He attended the National Institute of Dramatic Art for three years and appeared in various theatre productions before being cast in television. Hii starred as Van Tuong Nguyen in the miniseries Better Man and was cast as Hudson Walsh in the soap opera Neighbours in 2013 and currently starring in Marco Polo. Hii was born to a Chinese-Malaysian father and an English mother. His early theatre work was with The Emerge Project an arm of Switchboard Arts. There he performed in a number of original productions in Brisbane by local playwrights between 2005 and 2007. From 2009 to 2011 he attended the National Institute of Dramatic Art (NIDA) in Sydney where he graduated in 2011. I was lucky to interview Remy who’s currently filming for Marco Polo.

1) When you were growing up who were your role models on Australian TV &    Film?

I actually grew up as a young kid in Papua New Guinea; we didn’t have television reception out there so my grandparents in Sydney would send out the TV guides from back home, and I’d highlight the shows I wanted to be taped, and they would mail back VHS tapes for us to watch. Gary Sweet in Police Rescue was a pretty big part of my life back then. Sadly looking back to my younger years, I don’t recall there being many faces of colour on our screens to look up to.

2) What made you want to break into Australian TV / Film?

I’ve always been motivated to succeed in this industry, as an artist, to be able to tell stories that excite me and in turn excite others. To get people passionate about Australian stories again. My friends and I always bemoan the often heard line “It was good… for an Australian film”. Somewhere along the line our storytelling stopped connecting with the audience: it stopped reflecting the country that many of us are living in; and yet there is a strong push now for new voices to be heard and that is something I want to be a part of.


3) How did you get started in your career?

A fantastic co-op theatre company in Brisbane run by Dr. Errol Bray allowed me to hone my craft as a young actor and recognise the importance of new writing in Australia. It was through performing there that I was asked to audition for a new play at the Queensland Theatre Company – The Estimatorwritten by David Brown. It won the Queensland Premier’s Drama Award in 2006 and I was playing the title role to sold out shows for an extended season. It was a wonderful induction into the industry, and cemented for me the idea that perhaps there was a place for me as an actor in Australia.

Coming from theatre in Brisbane, Film and Television seemed like this unattainable and mysterious thing. I found myself being sent for roles like Asian Gambler in East West 101, Asian Nerd in The Strip, and Asian Ladyboy in SeaPatrol. It wasn’t until I graduated from NIDA that other options started opening up for me, and chances to play interesting characters who were more than their skin colour or racial stereotype started to present themselves. Looking back, I’m kind of glad I never got the part(s).

4) Do you see a positive change to colour blind casting in Australian TV / Film and Theatre?

This is a really tough question to answer, as I can only speak from personal experience and sometimes it seems like we’ve really made it and sometimes it feels like we’re back living in the 50’s. I think we are making baby steps towards a place that  reflects the wonderful variety that is our nation. It’s slow, and there’s a long way to go but television is no longer the same as when I was young and diversity on our screens meant the other variations of white like Greek and Italian.


5) What changes would you like to see in the TV & Film industry?

More risks. Some of our countries greatest runaway hits have come from projects that the commercial networks would recoil from. Shows like The Slap, Please Like Me and Redfern Now have all found success and audiences here and overseas, and they refused to be safe – from casting to themes and subject matter. Rather than being afraid of what makes us different, we should be embracing it.

6) What more do you want to achieve in the future?

I feel like I’ve barely even begun! I’ve been working for the last few months on the second season of Netflix’s Marco Polo. It’s a very big budget, action heavy production requiring hundreds of actors and extras, hours and hours of physical training, fight choreography and punishing hours on set. It’s an incredibly rewarding process, and I’m thrilled to be a part of it, but I’m looking forward to coming back home and getting back to the theatre. Just a stage and that magic connection between the actor and the audience.

Photos courtesy of Remy Hii and Australians in Film 

Q & A with Australian screenwriter / producer / director Tony Ayres

Tony Ayres (born 16 July 1961) is a Chinese-born Australian screenwriter, director in television and feature film. He is most notable for his films Walking on Water and The Home Song Stories, as well his work in television –The Slap and teen adventure series Nowhere Boys. He’s Executive producer on Maximum Choppage (a six part kung fu comedy series for the ABC starring Lawrence Leung) and The Family Law (six part comedy series for SBS based upon the memoirs of Chinese Australian journalist, Benjamin Law).

Tony Ayres

Q. When you were growing up who were your role models on Australian TV & Film?

Tony: When I was a kid, I actually avoided Australian film and TV.  There was nothing that I watched, except for getting the occasional guilty glimpse of “Number 96” or “The Box”.  Perhaps it was because I felt a typical Australian cultural cringe?  Or perhaps because there was no one on the screen who represented “me”?  Or some weird amalgam of both.  The shows I loved were mainly American TV shows.

Q. What made you want to break into Australian TV / Film?

Tony: I had always loved words and wanted to be a writer, but half way through my university degree, I realised that academia was killing my passion for literature.  I ended up changing to a visual arts degree at the Canberra School of Art.  If I had found a creative writing course, I probably would have done that.  Film and TV for me was never a driving  passion, more a logical deduction.  Words + plus pictures = screen.  It was only when I started getting into the area that I grew to love it.

Q. How did you get started in your career? 

Tony: After film schools (both VCA and AFTRS), I started work as a TV writer, and was fortunate enough to get work from the start.  Lucky, because I entered the industry relatively late (my late twenties).  Those were the days when SBS was starting to produce scripted drama, and there was a greater appetite for multicultural stories.  I wrote a number of TV plays for a number of anthology series- “Under the Skin”, “Six Pack” and “Naked-  Stories of Men”- which gave me a grounding in writing drama.  As well, I started directing documentaries and short dramas which gave me a taste for directing.  I feel like I was at the right time at the right  place because I was able to make an early career out of the marginal identity politics which I was personally grappling with-  being Chinese, being gay, being Chinese and gay.  I think that’s harder to do these days.

Q. Do you see a positive change to colour blind casting in Australian TV / Film and Theatre and do you incorporate this method of casting in your own productions? 

Tony: Honestly, whilst I think the rhetoric has evolved, in the scripted area  I don’t think that there has been a substantial change in terms of colour blind casting.  Every few years a non-Anglo actor will do a significant film or TV role and in the press junket raise the question of diversity as a public issue.  There will be a flurry of associated articles, and these days a bunch of “likes” on Facebook, but soon after the status quo will settle again.  The network mental “default” will still to be to white.  Non-white cultures will still be massively under-represented.  It will be just as hard for non-Anglo actors who attract attention through a breakout role to sustain their careers.  Diversity for the Australian entertainment industry is like “gay marriage” for Australian politics.  A lot of people believe in it, but few people are prepared to cross the floor to vote for it.

For there to be substantial change, I think that it’s about the people who are genuinely invested in the issue of diversity (ie people from diverse backgrounds themselves) becoming the decision makers, the commissioners, the network executives, the makers.   I guess I’d look at my own work as an example.  Diversity is important to me because I have personally felt the effect/damage of growing up Chinese in a white culture.   So, it’s one of the determinants of what I do.  My kids show, “Nowhere Boys” has a recurring role for a Chinese Australian actor (and the actors playing his family).  I’m currently executive producing “Maximum Choppage” (six part kung fu comedy series for the ABC starring Lawrence Leung) and  “The Family Law” (six part comedy series for SBS based upon the memoirs of Chinese Australian journalist, Benjamin Law).  And I’m also EP’ing a feature film, “Ali’s Wedding”, a Muslim romantic comedy.

Q. What changes do you want to see happen in the entertainment industry?

Tony: In terms of diversity, I’d like the Australian government funding bodies to take this issue seriously enough to create some kind of quota system in terms of representation.  The US and UK industries have both found relatively benign ways to legislate for diversity, and I don’t think it’s harmed their products or their share of the world market.

Finally what projects are you currently working on? 

Tony: Aside from the shows listed above, I’m also executive producing a new show for ABC Drama called “Glitch” which is the ABC’s first supernatural TV series, and EP’ing and co-writing the feature film version of “Nowhere Boys”.   There are some exciting new projects in early days as well, yet to be announced.  But a recurring theme of diversity can be traced through them all.

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