Lady Precious Stream by S. I. Hsiung | Slanted Theatre & The Flying Nun at Brand X | ESCAC (2022)
Three Fat Virgins Unassembled by Ovidia Yu | Slanted Theatre & KXT Storylines | KXT (2021)
Ching Chong Chinaman by Lauren Yee | Slanted Theatre | Chippen Street Theatre (2021)
Intersection – Unleashed: Revolution is Coming by Sian Murphy [Creative Development] | Australian Theatre for Young People & Sydney University Dramatic Society | The Cellar Theatre (2019)
Jack, or the Submission by Eugene Ionesco | Impresario’s Players | St Paul’s College (2019)
Trial by Jury by Gilbert & Sullivan | Impresario’s Players | St Paul’s College (2019)
As You Like It by William Shakespeare | Impresario’s Players | St Paul’s College (2019)

Assistant Director

Top Coat by Michelle Law | Directed by Courtney Stewart | Sydney Theatre Company | Wharf 1 Theatre (2022)
Things Hidden Since The Foundation of the World by Javaad Alipoor [Creative Development] | Javaad Alipoor Company | Lennox Theatre (2022)
Seasonal Warriors by Anne Roze | Be SEEDsational | Monkey Baa (2021)
The Removalists by David Williamson | New Theatre | New Theatre (2021)
Iphigenia In Splott by Gary Owen | Directed by Lucy Clements | New Ghosts Theatre Company | Flight Path Theatre (2020)

Ching Chong Chinaman (2021)

for Slanted Theatre

Writer Lauren Yee
Director & Producer Tiffany Wong
Stage Manager Valerie Lam
Associate Director & Costume Designer Simone Wang
Lighting Designer Kate Baldwin
Sound Designer & Composer Sam Cheng
Choreographer Alex Gonzalez
Associate Producer Davina Oh
Creative Consultant Jonathan Chan
Accent Coach Kento David
Production Photography Callum Murray, Stephen Wong, and Sunny Zhang
Videographer Jeremy Budiman

Jico Avedillo, Tony Goh, Grace Ho, Alex Plenge Chan, Tiffany Wong & Frank Yang

“Tiffany Wong… leads the production with some crisp and effective staging choices. It’s likely the most thorough use of the Chippen Street stage I’ve seen to date, with all exits utilised and every inch of the space serving a purpose… This is why the core concept behind Ching Chong Chinaman has resonated so strongly with so many. References to the Joy Luck Club and an adoration of rice cookers will make any Westernised Asians feel represented, sure. But it’s the expression of these anxieties that landed so hard for me and is the reason I’ll be keeping an eye out for whatever Wong and Slanted Theatre will be bringing to us next.” – James Ong (Theatre Travels)

“It’s a funny and wise play which flips, and flips often, the stereotypes and tropes of Asian-Americans and Slanted Theatre has done a cracking good job of bringing it to the stage… there is a bedrock of hard work and talent which fills the wide stage with a wonderful sense of fun.  It’s an hilarious script, until there’s a serious point to be made, and this cast are a very funny lot… Director Tiffany Wong has mitigated the episodic nature of Ching Chong Chinaman by using some of the pin-point skill of her cast to bring on a scene quickly and fully ready.  There are also some comic interventions, such as disembodied hands with cans delivering props… Ching Chong Chinaman moves at quite a pace as the family secrets are uncovered and the character’s lives take some unexpected turns to allow each person to come to terms with themself.  From the name onward the play and the production has a sit-com’s laughs and a dramedy’s provocations to take away with you.” – Judith Greenaway (Reviews By Judith)

The Removalists (2020)

for New Theatre

Assistant Director to Johann Walraven

“Timely and vigorous. Sharply paced and ideally cast, this production of David Williamson’s groundbreaker hits you squarely where it hurts.” 
Jason Blake, Audrey Journal 

Iphigenia in Splott (2020)

for New Ghosts Theatre Company

Assistant Director to Lucy Clements

“It is a must see”
Theatre Now

“A superb production”
Reviews By Judith

“One of the best”
Audrey Journal

As You Like It (2019)

for the Impresario’s Players

Photographs courtesy of Valeria Villanueva

“This reimagined version from the recently formed Impresario’s Player’s theatrical group was a feelgood show filled with song, dance and chuckles.

Shakespeare’s script, like most of his comedies, tells a story of young love, gender swapping and fled prosecution. It also – like most of his comedies – drags its characters into the forest, which in the play was transitioned by a DIY backdrop made of fake leaves fashioned into trees and foliage. On the reverse side, as presented to the audience on arrival, were prom-esque foil streamers and balloon wreaths to set the show’s vibe.

This indirect throughline allowed them to sing hits from the decade, that while not necessary for plot, provided a breather from the Old English. The timing was sometimes off in solos, but the pitch-perfect harmonisations smoothed this over. On the playlist were classics like ‘I’m Gonna Be (500 Miles)’, and the final cast number to ‘I Wanna Dance With Somebody’ demonstrated the carefree vibe of the show and gelling of the actors.

The cast was refreshingly diverse and accommodated a variety of ages, genders and ethnicities.

In the director’s note, Tiffany Wong wrote that she was inspired to put on the play after finding out that we laugh at Shakespeare because we think we should, not because we actually find him humorous. Wong wanted to change this in her directorial debut. Through emphasis and body language, the cast communicated the comedic lines impressively. However, it was the physicality of it all that had us in stitches.”

But, As You Like It was a testament to the magic of student productions. It was an amateur show with a largely inexperienced cast — it was clear everyone had put their hand up for an exciting new opportunity, and as a result, their hearts and souls made the atmosphere infectious. It’s what gave As You Like It its uninhibited, endearing charm.

The dedication and hard work of the cast, crew and exec was clear from the first line.” – Millie Roberts (Honi Soit)

Jack, or the Submission (2019)

for the Impresario’s Players

Photographs courtesy of Freia Kirkaldy (dress rehearsal) & Cole Scott-Curwood (opening night)

Trial By Jury (2019)

for the Impresario’s Players

Photographs courtesy of Freia Kirkaldy (dress rehearsal) & Nathan Taplin (closing night)

%d bloggers like this: