Vidya Rajan: What does being Asian-Australian mean to you? Do you like the term?
Shannan Lim: For me, ‘Asian-Australian’ works. I was raised between Singapore and Australia. So it indicates two parts of an identity—people are always more than one thing. I am ambivalent about the term though. I’ve always thought, you can only call yourself ‘Australian’, without a prefix and without questions, if you look white.
What do you enjoy most about Asian Ghost-ery Store?
That it alternates between frank, sometimes mumblecore dialogue between our characters to the audience, and then over-the-top or physical scenes. As a writer you can speak in two different tones, and as a performer there are different rhythms to play with so that’s nice. And I really like the ending of Asian Ghost-ery Store!
What has been most challenging, either artistically or in reception?
Because you and I play versions of ourselves and all the stories are at least partly truthful, even if they are edited or swapped between us or amplified, when the audience wasn’t onboard in the earlier days it used to shake me. But this has changed the more Asian Ghost-ery Store has grown, the more experience we’ve had doing it.
Has there been anything that has surprised you about your identity through making this work?
The biggest shock has been how much people have connected with our brand of Asian-ness, which is kind of pathetic and self-involved. But it’s very relatable, I think. It’s strangely made me —at the same time—more OK with my Asian identity and how it relates to other parts of my life, and more riled about the politics of race.
What does political theatre or practice mean to you now and going into the future?
Is this an essay question? If you’re making political theatre your intent is to have the audience question something about their everyday that they take for granted. I’m a clown too, and clowning is outside of intellectualism. So going in the future, I want to balance the politics in my work with me just rolling around on the floor for no reason.
Shannan Lim: We started creating Asian Ghost-ery Store close to four years ago. How have you changed as an artist, as a person since then?
Vidya Rajan: Has it been that long? I’ve changed immensely. I’ve become more serious about being an artist I suppose, I moved to the Melbourne (the true mark of it haha) pretty and finished study at the VCA recently. I’ve explored new forms of work, and I think or hope my practice is evolving in exciting ways and becoming deeper. I suppose I hope the same for myself as a person but I am not sure if that’s true.
If the play was turned into a TV series and you had to cast different performers, who would you cast as our characters Shan and Yaya? What qualities would you look for?
Aiya! I’d be looking for actors who could be sassy and off-kilter but emotional at the same time. Maybe John Early and Kate Berlant, but in…brown and yellow face (NO). Nobody springs to mind really, which could be a function of my lack of knowledge, or the fact there’s such little representation still.
What would Asian Ghost-ery Store look like if it were staged a hundred years in the future?
I think and hope it would lose some of its immediate relevance that relies on certain racial stuff being true? It would be like staging an interesting history piece. But I hope the humour and relationships would carry through to the holograms.
What are you looking forward to seeing or doing while you’re in Sydney?
I’d really like to see other shows at the fest! Other than that, I’ve rarely been in Sydney so all the touristy stuff. I love a good botanical garden.
What’s the next project you’re working on?
A few things! I’m writing on a pilot at the moment, and devising a couple of shows. Also working as an Associate Artist with Theatre Works in the first part of the year. I’m also trying to stop my aged Indian relatives from constantly sending me inspirational memes about god which is almost a full-time job.
Shannan Lim and Vidya Rajan appear in Asian Ghost-ery Store, part of the Batch Festival at Griffin Theatre Co.
Dates: 11 – 28 April, 2018
Venue: SBW Stables Theatre