Kumiko Mendl, became artistic director for Yellow Earth Theatre at the beginning of the year. In April, however, their funding was cut. Dimsum caught up with Kumiko to find out how they have been affected, and what plans she has for the future.

Dim Sum Nights sounds like a very exciting new direction for YET. Can you let us know a bit more about it?
The aim is threefold; to give a platform for new and aspiring British East Asian (BEA) actors, writers and directors, to develop new work and to find new audiences in new spaces.

This is an opportunity to bring BEA artists together and demonstrate the talent that is out there.

On this project you are working with up and coming writers and performers. Where are they from?
There are over 40 BEA actors, writers and directors involved. Some are established actors trying their hand at directing or writing for the first time, some are established writers directing their own pieces, others are from our acting scheme Yellow Academy and yet others have been part of the Royal Court’s recent writing scheme for BEAs. So there is a real range of talent and experience.

Is there anyone in particular you think we should look out for?
I would like to think there is something for everyone in the pieces we have chosen. Saturday night will be selected highlights from the week as far as we can tell at this stage. There is no telling which might be the hidden gem. Audiences will have a chance to vote each night on their favourite one which will be on our website and tweeted the following morning.

Unfortunately you lost your revenue funding during the big overhaul by the Arts Council. What has this meant for YET?
It has been a big blow to the company and as with many other arts organisations we face an uncertain future. It is an even bigger blow when you consider that there are now no performing arts companies in the new National Portfolio (which gives three years of revenue funding) who are working to bring the stories and talent, audiences and interests of the British East Asian community to our stages.

The company has had to downsize and it has meant we no longer are able to operate with the same amount of resources it also means much more time will be focussed on fundraising at the expense of the art. However I am confident where there is a will there will be a way and the company will continue to make funding applications and hope that the funding organisations will see the merit and worth of the company’s work.

What sort of support have you experienced from the Chinese and wider British community?
We have received many emails and letters of support from both the Chinese and the wider British theatre community expressing the shock and disappointment with the Arts Council’s decision.

But as you know from the pages of your very own website there have been a few very vociferous and bitter voices coming out against the company. Many of the accusations have been unfair and unfounded and has frankly done nothing to help the situation.

Yellow Earth was never going to be able to please everyone and the problem has been that the company has been the sole revenue funded BEA company for the past 10 years which puts an inordinate amount of expectation on the shoulders of a small organisation.

I am very pleased to see that there are more BEA companies being created, if we don’t make the work then no one will. They say competition is healthy and as far as I am concerned we all have different interests and focuses to explore and I am all for more opportunities for our actors, writers and directors. If we can harness our skills and passions to create excellent work that audiences want to see then that is what we should be doing.

As artistic director what are your aims for YET? How do they depart from previous artistic directors?
I am focusing on new work whether that be through a devised and/or written process and I am very keen to create opportunities for the next generation, whether that be through Yellow Academy and encouraging people to seriously consider actors training or giving them a platform through Dim Sum Nights to showcase new work.

The company needs to find new ways of engaging with audiences hence the drive to find new ways of presenting work in new spaces.

People have been unsure once I was made AD as to whether I would be just doing work for children and young people as I had been involved with developing and delivering the outreach and education side of YE for many years and I directed the family show Why the Lion Danced.

I don’t see the two as being mutually exclusive, however I will be focusing on work primarily for adults. Some of the best and innovative shows I have seen have been for very young audiences and the participative and interactive element that often accompanies these shows together with imaginative storytelling will certainly inspire any work I create.

What new projects have you got lined up over the next few months?
After Dim Sum Nights the plan is develop a two or three pieces to take out on a national tour, linking regional venues with their local Chinese restaurant so that the venue will sell tickets for the performance in the restaurant or the venue hosts the performance and brings in outside caterers for the Dim Sum and tea as we are doing on the Saturday night of Dim Sum Nights at Tara Arts.

We will be setting up a new creative lab – YLAB for creative research – workshoping new scripts with actors, writers and directors and developing pieces that can be platformed at future Dim Sum Nights so developing new work that can come from a devising and/or writing process.

I am also looking to create site specific pieces over the next couple of years, inspired by oral history projects that have been undertaken by various Chinese community centres and organisations in particular ICC and CMHA into the two London Chinatowns in Limehouse and Soho.

Is there anything else you would like to add?
I hope the Chinese community will be intrigued and interested enough to come and sample a night of Dim Sum Nights, as I say I am confident there will be something for everyone and it will expose people to the wealth of talent and ingenuity we have amongst our artists.
Dim Sum readers come and celebrate with us:
15 new bite sized pieces of theatre served up over four nights with Dim Sum and tea, led by talented up and coming British East Asian performers and writers.

Come tickle your mind and your taste buds!

23-25 November 2011 7pm
New World Restaurant
The celebrated Chinese restaurant in the heart of London’s Chinatown
1 Gerrard Place London W1D 5PA
Tickets can be booked in advance via Tara Theatre Box Office and collected at the venue on the night.
Box Office: 020 8333 4457 or click here www.tara-arts.com

The performance will last approximately 1.5hrs. You are then welcome to stay on and order dinner at specially reduced prices.

The best of the three nights will be performed at Tara Theatre on
Sat 26 November 2011 7.30pm
Tara Theatre
356 Garratt Lane SW18 4ES
Tara Theatre is located opposite Earlsfield Station, 12 mins on the mainline from London Waterloo.
Trains leave every 10 minutes until after midnight.
Box Office: 020 8333 4457 or click here www.tara-arts.com

All Tickets £13.50

Photo by Elaine Wong