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Written by Joanne Yuen, Social Media Lead at Voice ESEA, and edited by Voice ESEA’s Co-Director Laurence Maidment-Blundell

Resonating with a regional audience

London’s diverse and discerning theatre audiences have been long renowned for their openness to new plays. Even though introducing a new play to audiences can be challenging, Mingyu Lin alongside Joanne Lau and their ESEA cast brought Worth to life in momentous fashion. First brought to the stage at the Arcola Theatre, London, and then the Storyhouse, Chester, it tackles the poignant story of a family grappling with their inheritance after the loss of their matriarch. Throughout the performance, I viscerally related to the deeply personal storylines brought to life through Joanne’s writing and felt a powerful connection with my fellow British-born Chinese peers, some of whom were laughing alongside me in the audience. The one thing that struck me was the extent to which people in the audience resonated with what was happening on-stage which reinforced two central themes of the play: authenticity and belonging. Based on this, I had the opportunity to chat with the director and delve into the intricacies of her production.

From script to stage

I began my conversation with her by asking how she came to direct Worth. She stated that she was initially motivated to direct the play based on the opportunity to advocate for and normalise ESEA presence and representation within British media and wider society. This was reinforced in Spring 2019 when she was approached by New Earth, an organisation committed to creating opportunities for BESEA artists and developing new plays, to attend a play reading as part of their professional writers’ programme. Her extensive directing experience along with her collaboration with New Earth made her an ideal candidate for Worth. 

Lin’s involvement in the production extended beyond directing; she became a vital part of the script development process. Unlike working on classics, where the scripts are established, new writing necessitates directors taking on the role of dramaturges which involve a more collaborative process with the writer. She worked closely with playwright Joanne from drafts to developing the play for the stage. It was important to her to honour Joanne’s vision whilst exploring different possibilities. As an example of this, various endings were considered, including a pivotal moment involving a slap and the transfer of the ghostly presence of Ma (the grandmother) to Penny (the oldest daughter), who then becomes the embodiment of the matriarch. 

Connection with the story

When asked about what attracted her to the story, the award-winning director shared her personal connection to the themes explored in Worth. As a second-generation immigrant from China growing up in Singapore, she could relate to the unspoken topics within families, particularly those related to discipline. Although she emphasised that her own family was not as dramatic as the one portrayed in the play, she found the well-written characters and story compelling. She admired the use of comedy as a vehicle to delve into the more intense cultural and familial issues and highlighted the importance of representing the BESEA (British East and Southeast Asian) community on stage.

Worth offered an opportunity to bring the lived experiences of the community into the spotlight, as well as exploring the concept of the house itself as a character, drawing parallels to the significance of the family’s home in their own lives. We had a laugh about how our parents also used to keep cash in biscuit tins lying around the house as this was quite a big plot point in the play. 

From stage to TV

Lin shared her experience of the differences between directing television episodes and directing plays. Between 2022 and now, she has directed several Hollyoaks episodes which were centred around the theme of Lunar New Year. She highlighted how while TV productions often face budget constraints and limited time with editors, theatre grants her the freedom and space to explore characters, writing, and aspects of design in a sustained manner. She also expressed a deep appreciation for the theatrical process, where collaboration and creativity are given room to breathe. 

Looking ahead

Mingyu revealed some exciting projects on the horizon. She will be co-directing Sovereign at the York Theatre Royal, a play set in York’s historic King’s Manor, featuring a cast of over 100 performers and involving three directors. Additionally, she will be involved in Play for the Living in the Time of Extinction, which will start in London and conclude in York, with different directors in each area. Notably, this production aims to use electricity generated solely from the show itself, highlighting the importance of being environmentally conscious and consuming in a sustainable manner. One of her goals is to also get an ESEA family on Coronation Street one day.

She also stressed the importance of advocacy work and the need for representation to combat stereotypes concerning ESEAs perpetuated by mainstream media. As shown by Worth, theatre can be used as a powerful tool for social change. This is because showcasing the presence and contribution of ESEA communities in Britain can not only challenge discrimination, but also foster mutual tolerance and understanding within wider society. 

Mingyu’s directorial journey with Worth represents a significant milestone in regional theatre, bridging the gap between new writing and audiences. Her dedication to advocating for the BESEA community and commitment to nurturing emerging talent exemplifies her invaluable contributions to the industry. Her continued passion for storytelling and amplifying underrepresented voices will captivate and inspire audiences for years to come.

For more information, check out New Earth Theatre’s website here.

Mingyu Lin’s Instagram: @mingyulindirects

Joanne Lau’s Twitter: @joannelauwrites