In the early 1990s, while filming “Romper Stomper” under Geoffrey Wright’s direction, I first discovered the Footscray Community Arts Centre. This venue served as the backdrop for the film, portraying the hideout of Neo-Nazi skinheads. In “Romper Stomper,” I played Tiger, the Vietnamese gang leader—a role that became a turning point in my career. On set, I found myself leading hundreds of Vietnamese youth in standing up to the Neo-Nazi gang led by Hando, portrayed by Russell Crowe. The film’s release in 1992 positioned me as an unofficial spokesperson for the anti-racism movement, a role I embraced with pride and responsibility.
At 24, I learned from the Media Entertainment Arts Alliance (MEAA) that I was one of their first Vietnamese members. However, I often navigated a landscape with limited acting opportunities. Most roles offered to me were restricted to various Asian characters—ranging from Vietnamese to Filipino, Thai, and Chinese. These portrayals typically depicted newly arrived migrants, refugees, or criminals. After nearly a decade in the industry, I became disillusioned by the repetitive nature of these roles. I realized that the only way to see the characters and stories I wanted to portray was to create them myself. This inspired me to start writing.
In 1993, I returned to the Footscray Community Arts Centre, armed with questions about its purpose and what I could contribute. It was here that I met David Everist, the new Theatre Outreach Coordinator who had taken over from Donna Jackson, now the Artistic Director of the Women’s Circus. Donna’s dedication to empowering women who had experienced sexual and domestic violence motivated me to do something similar for Vietnamese youth.
Following the impact of “Romper Stomper,” I felt a strong need to establish my group—a space where we could gather, belong, and express ourselves freely. David kindly allowed me to use the Footscray Community Arts Centre to conduct drama workshops for Vietnamese youth. What began as enjoyable weekly meet-ups soon blossomed into a vital community hub. At 25, I finally experienced a profound sense of belonging. Just a decade prior, at 15, I had faced expulsion from school, left home, and spent months living on the streets and in youth shelters, even getting involved with cult groups—all in a quest for freedom.
By November 1994, my deep commitment to the Vietnamese youth in Footscray had nearly led to burnout. I was exhausted from investing so much into the group without a clear direction. I discussed my concerns with David Everist, who asked me what I truly wanted to achieve with this group, even before it had a name. My answer was simple: I wanted to create a play that addressed the issues and stories of young people. Although I had many fragmented ideas, I struggled to piece them together. David suggested I collaborate with Sarah Cathcart, who would become my mentor and dramaturg.
Sarah proved to be an exceptional teacher and dramaturg. Over the next month, I worked closely with her, sharing all my writings, including scattered notes. These fragments ultimately coalesced into the first draft of “Chay Vong Vong,” or “Running in Circles.” With David Everist’s help, I secured a grant from the Queens Trust to stage a community production of “Chay Vong Vong” at the Footscray Community Arts Centre in September 1995.
Just before the inaugural season of “Chay Vong Vong,” Dave Kelman, an experienced director from the UK, arrived at the Footscray Community Arts Centre and lent his expertise to the production. Marco Baggio, a public relations and marketing expert from Altona, heard about “Chay Vong Vong” in the local newspaper and decided to volunteer his talent to the production as well. One significant contribution Marco made was getting me onto the “Bert Newton Good Morning Australia Show.”
By 1998, I had directed four different productions of “Chay Vong Vong”—three in Melbourne and one in Sydney with the Urban Theatre Project, thanks to the support of John Baylis. Each production presented unique challenges and opportunities, requiring me to adapt both the process and the outcome. Instead of merely remounting the same play, I allowed the project to evolve, making it difficult to compare different iterations. Each production had distinct goals and connected with various communities, yet some common strengths emerged. One of my biggest strengths is my ability to network and inspire people within the Vietnamese community. Each project garnered significant support, linking me with individuals across generations—from young people to conservative leaders. This backing reflects my commitment to my community and serves as a powerful motivator in my theatre work.
I integrated my knowledge of Western theatre and Vietnamese traditions into the productions, pushing the boundaries of the art form. The bilingual scripts allowed both English and Vietnamese-speaking audiences to appreciate the performances. This cultural fusion attracted large audiences from both the Vietnamese community and the broader public, who valued performances that challenged conventional aesthetics. Strong media support also played a crucial role in elevating the profile of the Vietnamese community and presenting positive narratives.
Developing “Chay Vong Vong” and witnessing its potential expand in various directions has been a privilege. I remain profoundly grateful to the many individuals who have played pivotal roles in its success, including David Everist, Sarah Cathcart, Marco Baggio, Dave Kelman, and John Baylis.
Reflecting on my journey, I see how each experience has shaped not only my career but also my identity. The challenges I faced, from limited representation in the industry to the struggle for belonging, fueled my passion for storytelling. I learned that theatre is not just about performance; it is a powerful medium for connection and change.
Through my work, I aim to amplify voices that are often unheard, particularly those of young people from diverse backgrounds. I believe that by sharing our stories, we can foster understanding and empathy within our communities. Each production has been an opportunity to explore complex themes—identity, belonging, and resilience—while celebrating our rich cultural heritage.
As I continue to write and direct, I remain committed to nurturing the next generation of artists. I hope to create spaces where they can explore their creativity and tell their own stories. The Footscray Community Arts Centre, which initially inspired me, has become a cornerstone of my artistic journey—a place where dreams can take flight.
In the years to come, I aspire to develop more projects that challenge the status quo and engage audiences in meaningful dialogue. I believe in the transformative power of art and its ability to inspire change. My journey is ongoing, and I look forward to the adventures that lie ahead, driven by the belief that every story matters and that together, we can create a more inclusive and vibrant cultural landscape.
