Produced and/or directed
Farewell Lady Autumn by Melka Stansah
Following the critically acclaimed season at La Mama Theatre HQ (20 to 28 March 2024) - please open 'MORE' for relevant Reviews -
in collaboration with the Museum of Chinese Australian History we present a showing of a recorded performance and a Q&A session for everyone who could not see the play live or wants to see it again and talk with the playwright, production team and actors on
Sunday 28 April 2024 at 1:30pm.
It is the year 1903 when China is ruled by the weakening Manchurian Qing Dynasty. Poverty, starvation, consequences of the opium trade, and other threats by Western powers are crippling the country. Anti-Qing sentiment increases and rebellions against Qing rule and imperialism become more and more prevalent.
The same year, Qiu Jin moves to Beijing. A woman ahead of her time, a poet and a writer, she dreams of a gender revolution to liberate women from the foot-binding practice, arranged marriages, and by fighting for women's right of receiving formal education. Yet, her days in the country’s capital are basically filled with looking after her children and dealing with her conservative husband. Still, defying another socially accepted practice she is teaching her long-term servant, once illiterate and quite naïve, to read and write.
Not until Qiu Jin meets a fellow writer with a secret past, she finally realises that her fight has already begun, a fight through writing she believes could put an end to the most acute fear of having to bind her daughter's feet as the ultimate sign of upper class male dominance and culturally accepted societal suppression of women’s freedom. But soon she discovers making change happen is not that easy. Then a charismatic ambitious political revolutionary leader she got into contact with, Xilin, offers her an alternative path to achieve her dreams, a more practical one and for sure...more dangerous...
PRODUCTION TEAM, CAST, CREW biogs:
Melka Stansah (Playwright)
Melka is an Australian writer/playwright of Chinese-Indonesian background. She writes short stories, poems, novels and play scripts in both Indonesian and English. Her short story 'Saving B-2098' was shortlisted for 2018 International Literary Prize by Hammond House Publishing and published in their 2018 anthology 'Precious'. Other works include a monologue 'Intoxicated' performed on ‘Love Kills’ program as part of Melbourne Fringe Festival 2017 and a ten-minute play 'Breaking Down Sarah Jane' performed in the 1812 Theatre Melbourne. Her debut full length play - the futuristic drama DEFECT - had a season at Club Voltaire/Nth Melbourne in June 2022.
Being versatile and adventurous in genres, styles and themes is how she sees herself as a writer / playwright. Especially with her multicultural background, she always aimed to create shows that can be enjoyed by both Australian and worldwide audiences.
Author’s Note
With this play I want to emphasise Qiu Jin’s impact on the evolving feminism in China. She is mostly remembered as a revolutionary martyr and her pivotal contribution to the feminist movement in modern China is often overlooked. I believe in giving Qiu Jin’s poetry which is a integral part of the play a prominent voice when telling her life’s story.
The main character ‘Qiu Jin’ is well known in China as one of the revolutionaries of the early 20th Century who fought for the change of the county’s governance system from the Qing Dynasty to a republic, the first step into what is now known as the People’s Republic of China after the communists under Mao Zedong added the prefix “People’s” in 1949.
Little does the public know that Qiu Jin was an accomplished poet using her poetry to openly express the sentiment of feminism that was already prevalent amongst the members of a group of progressive women. Only after her self-funded time studying in Japan in 1903 where she was exposed to and participated in revolutionary activities by expat Chinese students who left their country to fight for the change of the Chinese Governance system in secret from a safe distance unbeknownst by the Japanese government she became a leader in the anti-imperial movement, a ’Comrade’.
Back in China she maintained her philosophy expressed in her poetry about the importance of women’s rights, such as the freedom to marry, freedom of education and abolishment of the practice of foot-binding.
In 1907 Qiu Jin was executed for the failed assassination attempt of a Qing official by a closely affiliated comrade.
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Wolf Heidecker (Director/Producer)
Though this play gives an insight into the life of Qiu Jin, a real person, is set in the early 20th Century China, is based on historical facts, and even conveys some of her original poetry it is not intended to be a semi-biographical period drama.
The main character was a forerunner of what today is called Feminism, a widely misunderstood term, a worldwide philosophy and movement of women [and some men] that is still trying to fight for gender equality rather than gender dominance.
Wolf is a trained performing artist/director, Behavioural/Communications Analyst, and theatre producer who spent half of his professional career in the German arts industry as Admin and PR-officer, Tour Manager, Artistic Director and Chief Executive Officer/General Manager with several German opera and theatre companies. In Australia he gained extensive experience with ethnic groups and theatres working with Indian and Vietnamese writers and ensembles as well as Aboriginal, Maori and South Pacific Islander groups.
Most recently with his production company WHAM he toured in May 2021 Bernard Clancy’s play about PTSD Foxholes of the Mind which premiered in 2010 at La Mama to SA, ACT, TAS and NSW and directed the futuristic play DEFECT by Melka Stansah at Club Voltaire/Nth Melbourne in June 2022, followed by the Australasian Chinese Theatre Company’s intercultural play Covid Baby by Moni Lai Storz.
Richard Lyford-Pike (LX/Sound/Visual Designer,
Head Tech/Operator)
Richard is a trained musician and professional sound and lighting engineer, with an university background in textiles, interior design, and film.
Richard has also produced and animated several short Animations which are still travelling through Film Festivals around the world. One of which has earned him an Academy Awards ‘Oscar’ for Best Animation in 2021.
He is well experienced in the live theatre and touring scene having been involved with performances on stage for over 20 years and involved with independent live theatre itself for 7 years; locally, interstate and on overseas tours. While working in his field, Richard has also assisted in set design, pre-production and back-stage cues. Recent theatre works have been: 2021 - Foxholes of the Mind (Australian tour), 2021 - Streets of Melbourne (Banksia Festival/Opening La Mama), 2019 - Mei Ling in Melbourne (Australasian Chinese Theatre Company), 2015 – Muffins at the Death Café; 2014 – Travel art Dance Company – Winter warming; 2014 – Travel art dance company – Search for Xiao Li’s Head; 2014 – A.C.T. – Hyper Reality & A Wife’s revenge; 2013 & 2014 – Reaction Theatre – Heart Thy Neighbour; 2014 – Dive (Musical/Melbourne)
instagram: @richie_valentino
Website: https://www.delvalentinoproductions.com/
CAST
Isabelle Wang (Qiu Jin)
[Cultural Advisor, Translator/Editor of original poems by Qiu Jin]
Isabelle graduated from the Victoria College of the Arts-Bachelor of Performing Arts, and NIDA - Screen Actor Studio.
After graduation she worked professionally as an actress in China both in film and television before moving back to Australia in 2019.
TV credits:
main cast in “Blue Lily”; “If you are happy”; and “Glass marriage”.
Film credits:
Indo - Singapore International Film Festival winner “ Play on” lead Caitlin;
“Confucius”- staring Chow Yun-Fat with Oscar winner Cinematographer Peter Pau;
“ Blood Brothers”- produced by John Woo, portraying real life Hollywood starlet Anna May Wong.
Theatre credits:
Australasian Chinese Theatre Company and WHAM’s production of “Mei Ling in Melbourne” 2019 portraying Mei Ling and “Covid Baby” 2022.
Fanny Hanusin (Ping Ping)
Fanny Hanusin is a performer of Chinese-Indonesian origin. She received Green Room Award for her performance in Hospital of the Lost Coin and The Vanishing Box in La Mama.
Highlights of past productions included Asylum (Wal Cherry Play of the Year) and Serial Blogger (Green Room nominee for Alternative/Hybrid Production) that integrated street located touch screens, YouTube and live performance. Another highlight was performing in Attract/Repel, an honest and hilarious exploration of personal stories on racism. The show was awarded Kultour Tour Development Award by Melbourne Fringe.
She also performed in Chinese Whispers that won Best Live Art and Innovation in Culturally Diverse Practice in Melbourne Fringe.
Fanny’s television credits included Offspring, The Slap, Wentworth, Get Crack!n, The Spooky Files and a main cast role in Bogan Pride, a musical comedy miniseries on SBS. She has also performed for MTC in Happy Ending and Beached. Her latest production in La Mama was Miss W Treads that celebrated one of the early stars of Sydney stages, Eliza Winstanley.
Lansy Feng (Zhihyua, Madam Wu)
Lansy Feng is an actor, singer, writer, theatre-maker and filmmaker who trained at Howard Fine Acting Studio and National Theatre Drama. Besides numerous credits for stage and screen, she has created several original works including the highly reviewed cabaret ‘How I Met My Dead Husband’(2018-2019 Butterfly Club, Gasworks, Bluestone Church Arts, The Bowery Theatre), highly praised theatre play ‘Dear Mama, There’s Something Maybe I Should Tell You…’’ ( 2022 Brunswick Mechanic Institute, BCAS, The Bowery), and the award-winning short film ‘ Of Course I Speak French’ (2020). She is excited to perform in ‘Farewell Lady Autumn’ with WHAM at La Mama!
Instagram handle @lansyfeng
Website https://www.lansyfeng.com/
Jamie Vu (Xilin/Tingjun)
Jamie is a 31-year-old Melbourne based actor. He studied at Brave Studios, 16th Street Actors Studio, and is currently pursuing part-time studies at TAFTA.
The previous theatre show that Jamie worked with Wolf Heidecker was called Vivid by Hoa Pham at Footscray Community Arts Centre. He anticipates to be showcasing his exceptional talent and dedication to the craft.
Natulie Moffatt (Stage Manager)
Natulie is a seasoned theatre enthusiast with a rich tapestry of experiences. She garnered awards as an actor, writer, director, and props master. She holds certified expertise in OHS, first aid, weapons and firearms for film, martial arts, bookkeeping, information management, IT, hospitality, construction, and music (winning the Grand Final round in 'Local Rockstar's Karaoke Competition').
A big Thankyou for their support:
La Mama admin and tech team, Darren Gill for his brilliant creative photography
Gisela Heidecker for assisting set/props production
DEFECT by Melka Stansah - Club Voltaire, 14 Raglan Street, North Melbourne
Season - June/July 2022
A futuristic suspense play that explores fundamental themes of the classic ‘Frankenstein’ by Mary Shelley and reinvents it in a contemporary style. The play highlights the issue of human cloning and unique human identity.
Reading of Poems by Bert Brecht
at the 6th Festival of Surrealisms March 2022
FOXHOLES OF THE MIND by Bernard Clancy - National Tour May 2021
At the opening season in Adelaide we received the following review from Kerry Cooper (Stage Whisper): https://www.stagewhispers.com.au/reviews/foxholes-mind?fbclid=IwAR0vJVBWSm0-3_mv-Fb-eVbeex05UoNXcrHkaJfhLxHkakA-UqTtXX_vS54 For our season at Canberra - second week of tour - we have received the following review by Peter Wilkins: Playwright Bernard Clancy is a Vietnam veteran, whose struggle with Post Traumatic Stress Disorder and subsequent capitulation to its devastating effect prompted him to write Foxholes of the Mind. The play is a compelling account of the terrible torment suffered by returned soldiers from the horrors of war. Inspired by Clancy’s insightful and heartfelt account of the impact of this disease, the professional cast deliver a performance that is as sensitive as it is confronting and as thought provoking as it emotionally powerful. War’s consequence is not regaled in glory, but shrouded in physical, emotional and psychological pain. Clancy presents the true effects of war upon the returned servicemen and women. Frank (Peter Finlay) is persuaded to attend a therapy session, conducted by psychologist Mark (Victor Gralak.) The session is also attended by Mario, played by Adrian Mulraney who deftly takes on a jacket and a walking stick to present barrister, Harry, and Ginger Mick. Former nurse, Sheila (Maureen Hartley) joins the group and Mark is assisted by his colleague Nigel (David Lih) a Vietnamese born boat refugee and Afghanistan and Iraq veteran. Clancy cleverly includes the younger as well as older veterans to illustrate the cruel impact of PTSD on all service people. The irony is that many, including Clancy and his central protagonist Frank believe that they have overcome post-traumatic stress disorder, only to succumb to alcoholism, domestic violence and suicide. Clancy draws back the curtain on a disease that, like a cancer, spreads throughout the lives that come in contact with the veteran. Frank’s wife Trish (Joanne Davis), no longer able to cope with Frank’s erratic behaviour and violent outbursts is forced to leave her home and move with her disabled adult son into her daughter’s small apartment. The play moves between the home, the clinic and the occasional flashbacks to the horrific circumstances on the battlefield. Through it all, the complex struggles to survive the ordeal reveal a truth that director Wolf Heidecker neither glorifies nor embellishes. The drama’s authenticity is its most effective communication. Nowhere is this more poignantly revealed than in the final scene between Trish, Frank and Mark. Joanne Davis gives a most heart wrenching performance as she reveals Trish’s suffering and longing for the love of her childhood sweetheart, whom the army trained to kill, dehumanised and then neglected when their active service was done. It is a cruel indictment of an institution and a society that has lost the art of compassion. Bernard Clancy raises the art to its rightful place with Foxholes of the Mind For those who suffered the terrifying ordeal of war, Foxholes of the Mind offers catharsis and an avenue of hope. For those who have lived with the consequences of life and friendship with the returned veteran, Clancy’s revealing drama offers an education in empathy and understanding. Having been performed in Melbourne, Adelaide and Canberra, the national tour moves to Hobart, Newcastle and Brisbane. or those who are able to see Foxholes of the Mind, I recommend the play. Audience response: Newcastle: https://www.facebook.com/foxholesofthemind/videos/5431954076875851/?__cft__[0]=AZX7QhHPHgbsGYK920MPQPhuBmRWDYugGeWIq3sb1yH4XCA2s63okjhz6fjQi-IRwUcb-QvCt6d2S7s7YviyopX5Rr5_uF26Bc2fTLiWMt3KlPTtg_01xPuZ5m5tihBq5aE&__tn__=-UK-R We are extremely grateful to the Australian Government Department of Social Services, which has given us a grant to make this tour possible. Without it there would be no tour, no artistically based initiative to help stop the suicides. We had hoped to take the play to Queensland, NT and WA as well however we were unsuccessful in obtaining a grant from the Department of Veterans Affairs and so were forced to scale back our plans considerably. Undeterred though, we re-applied in the next DVA grants round for funding a tour to those states in either 2022 or 2023. Unsuccessfully, again; next option - the government's RISE program established to help the arts industry to recover from the pandemic induced stagnation. The "job" is not complete and like the Army, we don’t do things half-arsed. It would be nice if DVA and its Minister, the Hon. Darren Chester, who have stated in writing that Foxholes is “a very worthwhile initiative”, give us support and lead the charge next time. Unlike most big productions, this is not a big profit-making venture. This country of ours is bloody big and the costs of covering ground with cast, crew, staging, etc are considerable; and actors and crew etc must be paid (they like to eat too!) but we’ll be happy if we break even (and I won’t even mention the threat of Cov…). https://casa.sales.ticketsearch.com/sales/salesevent/6727 The tour is all about contributing, in an entertaining and educational way, to veterans’ mental health. That’s it. If you’d like to help in any way, cash or kind, my Director and Producer, Wolf Heidecker, would be delighted to hear from you. Call him on 0413 555 630 or email whamflow@gmail.com. Now, going back in time, Foxholes premiered at La Mama Courthouse theatre in 2010 to virtually full houses and toured Victoria to critical acclaim in 2016. Excerpts from the 2016 show are on YouTube: https://youtu.be/L-PdlG2AtJI As one of our audience commented back in 2016 ... "Fabulous play! Everyone should see it to understand what our soldiers go through in order to protect this wonderful country of ours." Indeed. Cast: Joanne Davis, Peter Finlay, Adrian Mulraney, Victor Gralac, Maureen Hartley, David Lih Lighting/Sound Design and technical direction: Richard Lyford-Pike Stage Manager: Natulie Moffatt Foxholes premiered at La Mama theatre in Carlton in 2010 to virtually full houses and toured regional Victoria in 2016. It had a profound effect on veterans, first responders, wives and families and was widely acclaimed by critics and audiences alike. Playwright Bernard Clancy, a Vietnam veteran, says: “I’m very excited to see Foxholes go national. It’s a terrific opportunity to highlight PTSD and just how damaging it can be to our community, particularly our defenders and first responders. I’m extremely grateful to the Australian Government Department of Social Services for supporting this community initiative. “I originally wrote Foxholes because I wanted to highlight the tragedy of PTSD, to try to stop the terrible waste and destruction of the human spirit that PTSD entails. “Much is being done to try to counter PTSD, not only in the military sense, but also for first responders who deal with trauma, sometimes extreme, on a regular basis. “Foxholes is a non-clinical story about how a family, and its extended contacts and friends, are affected by PTSD. It shows how it can be identified and managed; it’s about caring for those who come home from conflict, in our name, with wounds of the mind. “If the play prompts just one veteran, police member, nurse, firey or ambo with PTSD to seek help, then I’ll be very happy indeed.” The play will be directed again by Wolf Heidecker. His production company, WHAM, is the producer on behalf of the Geelong Sub-Branch of the Vietnam Veterans’ Association of Australia, of which Bernard is a Vice President; Auspice/Insurance by Auspicious Arts Projects Inc. Bernard Clancy is also the author of the acclaimed Vietnam war novel Best We Forget and the comedy The Zipper… OPENING NIGHT REVIEW by Colin Mockett/Entertainment Geelong Foxholes of the Mind by Bernard Clancy directed by Wolf Heidecker for Larrikin Etc Potato Shed, August 9, 2016 This powerful play premiered at Melbourne’s La Mama in November 2010. Following a successful season - one of that venue’s best for the year - it’s author, Bernard Clancy, withdrew the work for a substantial re-write.This Potato Shed performance was the premier of that revised work. It had essentially the same cast, with just one change, but with a new additional character that allowed the plotline to take fresh new directions. Essentially, Foxholes of the Mind explores the effects of Post Traumatic Stress Disorder (PTSD) especially in those Australian soldiers who returned from the 1970s Vietnam War. They’re in their 70s now, and many are still unknowingly suffering the effects. This play explored those effects, and causes, with raw honesty studded with darkly caustic humour. Director Wolf Heidecker moved the action from real life to therapy session to re-lived memories, instantly and seamlessly, by using a continuous scene-flow over a simple, minimally-dressed set. And the play’s two-hour, no-interval format worked to build both understanding and tension to a low-key, believable, moving ending of quiet optimism. A remarkable feature of Foxholes of the Mind is that after every performance the audience is invited to remain seated for a question and answer session with cast, director and author. It was as a result of these sessions that author Clancy decided on the present rewrite, and there’s every possibility that current audience reactions may trigger more on-stage responses. Foxholes of the Mind is essentially a work in progress, and therapy for the author, whose own service in Saigon left him with undiagnosed PTSD. His newly introduced character, Nigel, a young trainee therapist of Vietnamese-Australian descent, expanded the plot into xenophobic territory. But when it turned out that he, too, was an ex-Digger, a veteran of the Afghan war and also suffering PTSD, the storyline exploded into several more unseen, but oh-so-relevant complexities. Prominent among the play’s audience after-show responses were, ‘Why are we still sending our young men to fight in these conflicts?’ and ‘Why do we not seem to learn from past experience?’ But that’s moving too far ahead. Foxholes of the Mind is based around the break-up of a dysfunctional marriage between childhood sweethearts Frank (Peter Finlay) and Trish (Joanne Davis) who had wed after Frank’s return from national service in Vietnam. She - and their children - had learned to endure his drinking and erratic, hostile and violent behaviour until she moved out of the family home, triggering his PTSD diagnosis and subsequent group-therapy sessions. There he met Victor Gralak’s knowledgable psychologist Mark and his assistant, the aforementioned Nigel, played by David Lih. Also on the treatment course were three other ex-Viet Vets, all played by Adrian Mulraney, and a surprise inclusion, Maureen Hartley’s ex-nurse, Sheila. Every one of these truly difficult characters was finely drawn and believably portrayed, with Peter Finley and Joanne Davis excellent in their central roles and Adrian Mulroney’s depiction of three different and contrasting characters simply outstanding. But for all of its eye-catching acting and staging skills, the most memorable thing about Foxholes of the Mind was the sheer power of its writing. This was evident by the depth, length and quality of that after-play discussion - and the fact that every audience member remained behind to be part of it. A telling thread from that audience response was that Foxholes of the Mind will undoubtably leave a lasting impression on every one who was there to see it. I urge you to take the opportunity to go and experience Foxholes of the Mind. It’s a production of power and eloquence - and it’s probably the most potent anti-war play that I have seen. Ever. Colin Mockett www.entertainmentgeelong.com
The Streets of Melbourne by Melka Stansah
Friday, 10 December 2021 – 2:45 pm – 3:30 pm at La Mama Forecourt, Carlton After fire, the War-Rak/Banksia flower comes back stronger and more beautiful than ever, blossoming with colour and life! Inspired by rebirth, LA MAMA's (Melbourne's home for independent theatre) War-Rak/Banksia Festival from 09 to 12 December 2021 commemorates the return of their iconic home at Faraday Street in Carlton with a free four-day celebration. An open and inclusive festival for everyone! Please join us to mark this joyful occasion, check out La Mama’s new digs and be welcomed home. Among an array of artistic performances, The Streets of Melbourne made of four visual/musical ‘narratives’ written by Melka Stansah are our contribution to the celebrations. “You are now entering the free tram zone! The clock tower bell chimes, the sound of bustling trams breaks the silence… A graffiti artist sips his fragrant hot coffee, searching for inspiration. The buskers get their instruments out of the boxes, adjust the mics and do their last sound checks. Another day begins. What do they see? What do they feel? What inspiration do they get from each corner of Melbourne streets? Or from the eclectic Melbournians? They will bring their stories to life in this collaborative theatrical production ‘The Streets of Melbourne’. Get onboard at La Mama’s home at Faraday Street, Carlton, on Friday, 10 December 2021. You don’t need your Myki. Just grab a seat, relax and enjoy the ride!” The Streets of Melbourne creative team - Produced by: WHAM & Melka Written by: Melka Stansah Directed by: Wolf Heidecker Photos/Video/Sound Design: Richard Lyford-Pike Original music/songs composed and performed by Buskers: Romanie Assez Louis Cooke George Kamikawa Actor: Graham Murray Graffiti Artist: Sur James Richmond For further details go to What's On - La Mama Theatre (see the comprehensive BANKSIA-Festival Program)
Previously seen in Melbourne and on tour: The Zipper comedy by Bernard Clancy Opening Season: October 2018 at Richmond Theatrette - Following open heart surgery, our internal wiring goes a little haywire – and the results, surprisingly, can be absolutely hilarious!Our heart objects to having been interfered with, stopped and bypassed for a period even, and quite mysteriously gives instructions to the mind to seek revenge! To stuff things around a little. “Do not,” surgeons warn their patients, “make any major decisions for quite some time after your operation because you’re NQR — Not Quite Right.”In the retirement village Emerald Waters, a group of heart bypass patients in rehab are learning to deal with this. Bernard Clancy’s stunningly poignant and heartfelt play “The Zipper” tells their stories, from serious to downright hilarious and zany. One thing’s for sure, their closeted little world will never be the same again…The last time playwright Bernard Clancy teamed up with the inimitable director Wolf Heidecker for Clancy’s compellingly powerful play “Foxholes of the Mind” for performances at La Mama and on tour throughout Victoria, their work was highly acclaimed by critics and audiences alike for its edge-of-the-seat entertainment.“The Zipper” is just as sharp. And the humor cuts like a heart surgeon’s scalpel!Produced by WHAM - Written by Bernard Clancy - Directed by Wolf HeideckerFeaturing Phil Roberts, David Macrae, Rosemary Johns, Phil Zachariah, Donna Barnard, Vixey Teh, Rosalind Romney, Karan BahtiaSet Design Sarah Yeung - LX/Designer+Op Richard Lyford-Pike –Production Assistant Natulie Moffatt, Stage Hand Ethan Moffat