Taking a slight detour from normal proceedings I recently attended a seminar on behalf of Chinatown magazine.

The topic of discussion had loose connections to this column so I have included my write up of it here for your consumption.

Where are the British Chinese and East Asian writers and actors?!

Ever wondered how the dialogue between British theatre and East Asian dramatists could be improved?

Well this has a direct link to the visibility (or invisibility) of Chinese and East Asian actors seen on stage, television and film in Britain.

What is Typhoon 3?

Typhoon 3 is Yellow Earth’s third annual International East Asian playreading festival supported by Soho Theatre.

The event is held over a week and is designed to promote the best of contemporary East Asian drama.

It showcases work from new and established writers in Britain as well as the East Asian region and the Asian American diaspora.

The panelists were, David Tse of the Yellow Earth Theatre, Laura Gribble of the Royal National Theatre, Richard Shannon of the Polka Theatre and Nina Steiger of the Soho Theatre.

The chairman was Phillippe Cherbonnier who is the Literary Manager of the Yellow Earth Theatre.

The panel declared they wanted a two-way discussion.

Laura Gribble pointed out that The Royal National Theatre is able to give advice to writers and help them develop.

The issue of developing contacts is crucial and a joint approach is necessary to help bridge the gap between community organizations and national institutions.

It was agreed that the grassroots (British Chinese and East Asian communities) must be approached and mobilized.

Richard Shannon from the Polka Theatre went on to state that two things needed to be increased.

Greater representation of multicultural work in British theatres and audience figures for those works.

These works had to be accessible to, and ‘owned’ by, the community for them to feel involved and not patronized. Speaking to the audience directly through the strength of the writing and corresponding acting could do this.

New writer development must be more aggressively promoted and more solid groundwork and relationship building with the community must be pursued.

Ways to adequately serve the writer and their community are of paramount importance as are creating opportunities for all.

David Tse of Yellow Earth Theatre and perhaps the present custodian of the grassroots experience pointed out briefly what his organization was doing to address the issues at hand.

Yellow Earth gets British Chinese and East Asian acting and writing professionals to tour the country once a year.

They feature festivals and workshops, which also involve talented young people often using the traditional East Asian style. Yellow Earth is also heavily involved in getting British born Chinese and East Asians, trained and educated in Britain to embrace their cultural heritage.

He continued to elaborate on some the problems facing East Asian dramatists in British theatre today.

The report listed 21 clear recommendations for improving the current situation.

This would involve action taken by the Arts Council, Regional Arts Boards, the Theatrical Management Association, the Society of London Theatre and the Independent Theatre Council.

David Tse went on to state that British theatre have to include culturally diverse actors in the UK.

Casting directors have a great responsibility to cast East Asian actors from the increasingly large talent pool.

Also, artistic directors who tend to promote plays according to their own personal taste have a duty to put forward more diverse offerings to audiences.

Equal opportunities laws should be rigorously adhered to and affirmative action should be explored to kick start the creation of role models which are vital.

British East Asian audiences, like any other, need to be able to identify with the actors on stage, to see people like them for accessible role models.

He concluded by saying high quality British Chinese and East Asian actors should be promoted more visibly.

So. On to solutions.

A lively debate followed between the audience and panel.

One strategy for improving the dialogue between British Theatre and East Asian dramatists is to find ways of making East Asian drama more appealing to mainstream masses.

This leads to a need for greater participation by the community in finding ways of how to make theatre appear more appealing and important to the public.

The grassroots must be engaged and mobilized for their support will see productions through lean times.

It was noted that the translation of some International East Asian plays, from their original tongue to English, was not always of the highest quality, thus ruining the whole feel and message of the writer’s vision.

British East Asian actors are in despair as they are still seeing recent examples of Oriental roles given to white actors who ‘yellow up’ for the part.

There was a slight sense of anger and frustration among some of the young actors present in the audience and also a real desire for change.

A desire that this seminar should be more than just another talking shop but a catalyst, leading to eventual breakthrough into the mainstream.

With the ever growing stable of British East Asian writing and acting talent around, this will just be a matter of time. For more info on Yellow Earth Theatre go to www.yellowearth.org

David Tse recently helped to form Chinatown Arts Space which supports East Asian visual and supporting arts.

By doing this he showed that studying for the creative arts takes as much hard work, dedication and commitment as it does for the traditional.

The stable, high earning professions such as medicine, law and accounting which many British East Asian parents guide their children towards.

Since leaving drama school in 2002 he has completed 2 TV commercials (including one for the Asian Wall St Journal), several stage plays, a TV comedy pilot and various roles in corporate training.

Again, showing skeptical parents, that making a good income from the acting profession is a reality.

Anyone aged 18 and over, keen to do radio acting, who has never attended an accredited drama school can apply.

The winners are awarded a six-month contract within the BBC Radio Drama Company.

Past members of the company include Stephen Tompkinson, Nina Wadia, Alex Jennings and Ben Onwukwe.

More details can be found online at, http://www.bbc.co.uk/soundstart, as well as details about the late Norman Beaton, the Guyanese born actor for whom this award was named in honour.

Also present was Veronica Needa, a founding member and Outreach and Education coordinator for Yellow Earth Theatre.

She is also a cultural ambassador for the Arts Depot in North London (www.artsdepot.co.uk).

Veronica Needa was born and grew up in Hong Kong, fluent in Cantonese and English.