Guest Blog: Windson Liong On Asian Representation and CHINGLISH

I am extremely excited to be a part of the European premiere of Chinglish, because with the current political climate, a play like this that celebrates diversity is important now, more so than ever. I play the role of Bing, a translator who hardly translates, and also, Xu Geming, a judge who wants to lead the city of Guiyang to new heights.

Recently, there have been quite a few controversial castings on film and stage, whereby Asian actors were denied the chance to be considered for roles that were Asians to begin with. The excuse of "roles were given to the best people because of their abilities, regardless of their race" works only in theory but not in reality, because in order for that flimsy excuse to be remotely valid and respected, there needs to be a fair and even playing ground.

Asian actors need to be given the same opportunities to compete for various different roles too, especially if the roles are originally Asians. The essence of colour-blind casting should be that of inclusion and not exclusion.

Already as it is, being an "ethnic minority" actor in the Western world, lots of doors are closed to us for various productions because of (and I quote this term loosely) "historical accuracy" for period plays, even though many of those plays are fictional and fantastical. So to have specific parts written about Asians being played by non-Asians is just a further slap in the face.

Not only does it send out a statement (consciously or subconsciously) that Asians can only play Asian parts, it also proclaims that Asians are not good enough to play even their own race. On top of that, it also perpetuates the ridiculous practice that a race can be portrayed simply by putting on a kimono, do martial arts or speak English with an inability to differentiate between "L" and "R".

For a long time, Asian actors have been severely underrepresented in the mainstream, not necessarily because of racism, but mainly because we have been perceived to be invisible. It is a vicious cycle. We are not seen because we are invisible, and we are invisible because we are not seen.

Thus, I am immensely grateful for this production, not just as an actor, but also as an Asian living and working here, because it helps to tell the world that we exist beyond Sweet and Sour Chicken and Egg Fried Rice. It also gives us an opportunity to show that we can be capable of telling a good story too, when given the chance to do so. Most importantly, it shows the world that we are not invisible.

The eminent David Henry Hwang has always been an incredible advocate striving for Asian representation within the industry. He has created lots of opportunities and platforms for the unseen and unheard to have a voice, and I am extremely honoured and thankful to be involved, to bring to life, a wonderful play written by a great writer, and to be a part of a lovely team of people making a statement of being present, visible and proud of who we are.

In this production of Chinglish, we have an American playwright, a British director, a Chinese assistant director, a cast and production team with heritage from the UK, France, Hungary, Korea, Hong Kong and Singapore, all banding together, united by one common passion to make art - regardless of race, language or religion.

We are living and breathing in a world without walls in this European premiere production of Chinglish. And I wish sincerely with all my heart that this will eventually extend to the reality of our world some day.

Chinglish is at Park Theatre 22 March-22 April

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