Composer/Musician
Music Director, Chay Vong Vong

At the end of 1997, I was approached by Tony who talked about a project which he would be workshopping in Sydney 1998. He had contacted me through my teachers and was curious as to whether I would be interested in being involved. After I expressed my interest in the project, I had meetings with Tony who outlined the project and subsequently meetings with Urban Theatre Projects were scheduled.

My role as the music director was to collaborate with other professional artists and members of the southwest Sydney Vietnamese Community and to musically direct the production of the work.

The most difficult task was finding musicians who were committed and willing to be involved without pay. It is a compromise in working with a community project that requires musicians, in the sense that good musicians rarely can do something without income – especially for an extended period.

It is very rare to find very good players to perform for two weeks and rehearse for another four weeks without pay, especially band musicians. We were very fortunate to have at least one musician who was a professional player involved without pay, who encouraged the amateur members and added enthusiasm to the band. As a band, every member is dependent on the other and it was difficult to find a time in which all members and the singer were free to rehearse. To overcome such difficulties, compromises had to be made, so that each member knew of musical changes and there was a cohesive relationship with the band.

I would have liked to have more room to explore my potential and creativity with the music. I felt I was not given enough room and respect in relation to my musical ability, for example, the four cabaret songs were not chosen by me and although I had arranged the songs, there was no creative satisfaction on my part. The viola and voice composition for the first funeral scene was the only part of the show in which I was allowed to use my creativity. I would prefer to have input as an artist, whether it is a choice of music or original composition in future projects.

Regardless, being part of Chay Vong Vong was in no way short of experience. I learnt to adapt to working in a different atmosphere and with different people. I learnt that writing and working with non-professional musicians was different from working with professional people as I was used to. The organising and approach to music had to be different as musical ability within the band varied and a midway had to be reached. Overall, the band’s performance was quite good.

Chay Vong Vong however, was an amazing project to be a part of. Many stories have been told in the Vietnamese community about the adult problem but rarely ones focusing on the family and the children. The play mixes a true reflection on the changes in the family; the changes in values, and the East adapting to a western society, with humorous cliches, which gives the play its light and enjoyable moments. The fact that it was a community play gave it a relaxing atmosphere within the cast and enthusiasm within the band. As a community project, I feel that Tony has been successful in his project.