How a migrant woman grew Australia’s biggest Chinese theatre?

 

Name: Xiao Chen

SID: 450433276

 

Tags: #Arts #Theatre #Cathay Playhouse #Chinese Australian #Australian society

 

 

On 30 April, peals of laughter from the Green Square Community Hall broke the originally quiet night. Dozens of Chinese people gathered together, raising their glasses to celebrate the 13^th anniversary of a Chinese theatre in Zetland, Sydney. Also, as theatre actors and staff, the improvisation is always an indispensable part of their events. Today was no exception. Even it was only an activity, every twinkle and smile of them were expressing their serious and enthusiastic attitudes towards the performance. From nine-year-old child to octogenarian, university students to businessman, despite their different backgrounds and expertise, they are all members of the Cathay Playhouse family.

 

The so-called Cathay Playhouse is a non-profit organization that was founded in 2003. The past thirteen years has witnessed a progressive growth of the theatre. Started with only three people, now it has already become the leading Chinese Theatre in Australia.Until now, the theatre has performed their productions on stage in various theatres such as Darling Quarter Theatre, Seymour Centre Everest Theatre, Tom Mann Theatre, and even Sydney Opera House. And it has successfully engaged more than 30,000 theatregoers. However, Cathay Playhouse cannot reach this far without a woman.

 

 

Wang Hui-Li is commenting on students’ performances     Source: Xiao Chen

 

There Are No Minor Roles, Only Minor Actors

 

The first time I met Cathay Playhouse off the stage was at its rehearsal field, which is located on the second floor of a small clothes shop in Ashfield. After passing through a narrow corridor, there is a not spacious place with some old tables and chairs.

 

“Welcome to Cathay Playhouse, now we are taking acting lessons”, said by Stanley Li, the theatre’s technical manager. The field was crowded with people, and in the centre of the room stood a grey-haired old woman who was training and selecting actors for the new annual drama. She is Wang Hui-Li, the director of this theatre and the leading role of our story. During the class, she gave students some topics and divided them into groups to perform.

 

At the end of the class, Wang asked how would we describe this place, this small and clouded room. The actors around her soon provided distinct answers like “a rehearsal place”, “ a stage”, “home”, and so forth. “When I was studied at the Shanghai Theatre Academy, my teacher told us that wherever there is a performance, it is a palace. I wish you could bear this sentence in mind and respect every performance. And finally, I want to cite Stanislavski’s view that ‘there is no minor roles, only minor actors’. No matter you are protagonists or not, you are significant.” Wang said earnestly.

 

Started from ten years ago, Wang opens free acting classes like this for drama lovers every year. And not only old members would come to improve themselves but also a lot of new faces would be seen. All of the new members said that they want to join the theatre after seeing their excellent performance.

 

Stanley described Wang as the beacon of the theater, “and it was her insistence as well as the high standard that brought us here”. Looking at this small but energetic woman, I could not help wondering how she could grow such an influential theatre in this strange land.

 

In rehearsal     Source: Xiao Chen

 

No Cross, No Crown

 

Born in a not wealthy family, Wang’s childhood was filled with a stall with comic books. She had to sell those books to support the family in all weathers. But this plight did not prevent her from being admitted to a top academy of arts in China. Since then, her life seemed to go on a good track. After graduation, Wang worked as a director in China Welfare Institution Children’s Theatre for thirty years. At that period, she got countless awards and honors, and her works in “WANG Hui-Li Children Play Series” has even become a major representation of children plays in China today.

 

However, a heavy blow came when she was in the prime of her career. Wang’s second little daughter died suddenly in 1989, and she and her husband went trough a tough time. While shortly afterwards, they migrated to Australia to live with their elder daughter.

 

Apart from bereavement, Wang also suffered from the adaptation to a new environment as other migrants. Due to the age and language limitations, she could only found jobs like doing housekeeping and distributing leaflets.

 

“For me, Cathay Playhouse is a newly opened window”, Wong said with shining eyes. “I had never dared to start my career again in this strange state”. Her story with Cathay House began in 2005 when three Arts enthusiasts came to visit her and invited her and her husband to direct a play. Since then, Wong concentrates her energies on developing the theatre, and her hard work finally paid off. Even the prime minister of Australia John Howard had written letters and visited her for several times, describing her as the Australian cultural ambassador.

 

When being asked about why she could insist on doing this non-profit thing for ten years, Wong smiled and said, “ Of course, the prime one comes to my love for Arts. I really want to sustain and promote the Chinese cultural and theatre Arts in Australia. And secondly, it is due to the lovely members in Cathay Playhouse, they are just like my families”.

 

The 13th anniversary party of Cathay Playhouse        Source: Cathay Playhouse

 

Live Your Life and Forget Your Age

 

At the middle of the anniversary party, Wang gave a speech, and the most impressive part is what she mentioned about her age. “ For you guys, I only have a small request. Do not treat me like a dying old, and do not hold birthday parties for me anymore.” Wang does not want people to focus on her age all the time. “If you do not mention it, I chose to forget it”.

 

Now the Cathay Playhouse is working on its new production called Oh My Darling, which is an adaptation of the Chinese classic plot Zhuang Zhou Dreaming Butterfly. And the public will see their wonderful performance from 19 to 22 October at the Lend Lease Darling Quarter Theatre. At the time, they will also provide subtitles for those English speakers.