As theatre company that aims to provide a voice for the British – Oriental community, how do you about the face of Orientals in performance and arts?

I feel that Orientals are the last ethnic minority to get a look-in in terms of multi-racial casting. It is now accepted that a black or asian face in theatre or television is simply another actor, but this has not fully extended to Orientals. When an oriental actor shows up in a television show (and even in the theatre) it is usually because he is playing an Oriental character - ie the issues in his stroryline are Oriental issues. Why is it that not a single Oriental family has appeared in Coronation Street or Albert Square? Maybe it is because the script-writers are scared of not knowing how these Oriental families function. My retort is to say why not have them function as a normal British family and allow them to have normal soap-opera problems. Why do they have to be related to Triads, takeaways, medicine etc...

Having said that, I feel that a watershed is approaching and that these soaps and television in general are slowly waking up to the fact that perhaps "Chinese is the new Asian" (!). As proof of this, I am currently developing an Oriental Sketch show for BBC3...the pitch? "A Chinese Goodness Gracious Me!"

Can you tell me why was it decided that Mu-Lan should emphasise particularly on being a voice for the British – Oriental community?

Firstly, there is not an accepted identity in being British-Oriental in the same way as the trans-atlantic term; "Asian-American". In the States you can be Korean, Philippino, Chinese, whatever and vote for Republican, Democrat etc...but still be "Asian-American". Here in the UK, it is more confused. Even agreeing on which adjective to use seems impossible. I heard that the vogue expression is now "Countries of the Pacific Rim", but until our board decides otherwise, Mu-Lan will continue to use the term, "Oriental". Mu-Lan's artistic direction concentrates more on the British-aspect of being British-Oriental, because I feel more British than I do Oriental and I know a lot of others do too. I grew up on Grange Hill, Blue Peter and Leeds United and the majority of my friends were/ still are not Oriental. I enjoy some aspects of Oriental culture but I do not like being pressured into watching / enjoying / performing in plays with pseudo-traditional Oriental music / theatre styles etc... I am not against that kind of work per se, but I dont feel it represents my life or experiences and it does not interest me. This approach is warmly welcomed by a great deal of performers / audience members and that is why we have had so much success in the past. There are, of course, others who will not feel the same way, but their needs are catered for by other companies.

How do you feel that Mu-Lan has helped build bridges with the British and Oriental community?

On a simple level, I believe that by enabling actors to perform in a contemporary British piece in a play that deals with universal issues (rather than sterotypical Oriental issues), we are showing up the similarities between both communities in spite of our racial / cultural differences and hence helping to build bridges. Anything deeper than that will find me in Pseuds Corner in Private Eye!

Although your play 'Sun Is Shining' was highly acclaimed last year, you lost your funding from the arts council soon after. How did you feel about such mixed messages?

I feel outraged. My belief outlined above that the British-Oriental community deserves to have more than one representative in the theatre world as well as an alternative to the traditional "style" of ethnic (or "diverse") theatre, is a stance that does not seem to have its place with the Arts Council / funders. Sun is Shining is about real life in London today and this contemporary look at life has resonance with everyone. The critics agree as do the audiences. What more can we do or achieve? It appears to me that we have been cut for reasons that do not take into account the artistic success or popularity of the company's shows. In the last 7 years, Mu-Lan is the only British-Oriental company to have made it onto the Critics'Choice list. Let me put it to you: Do you not think it absurd in light of the Arts Council's declaration to help "diverse" theatre companies that the only British-Oriental show ever to appear at the Best of Critics' Choice season is a show that does not have a penny of their money? What do you think?

A year on, the latest performances of 'Sun is Shining' have been financed by yourselves. Can you tell me how this came about?

We were offered the chance to appear in this prestigious season, by virtue of the fact that the show was so succesful last year. Not having any support from the arts funders we had to make a choice to pay for it ourselves or not take part. We decided on the latter.

With this in mind, how do you envisage the future of Mu-Lan?

The cost of re-mounting this show is not cheap and it all but wipes us out. I decided I would prefer to close the company having appeared in this season than to hang on a few months longer trying to secure alterntive fuinding, which is proving nigh-on impossible.

What type of future do you think that Chinese people have in performing arts?

As I said, I believe it is getting better all the time for Oriental performers and that we will shortly see many more faces on out televison screens. But for those performers who are interested in Mu-Lan's approach to British-Oriental issues, the future can only be worse until the arts funders agree that there is room for more than one Oriental theatre company. In the short-term, however, keep your fingers X'd that my Oriental sketch comedy show will appear soon. There will be parts for a lot of Oriental actors...!