Porcelain

What our readers say

What is it like reading this play now? How has it aged? 

It’s truly captivating that as early as 1992, the Royal Court showcased a play that delved into the queer British-Chinese experience. This piece boldly addressed pressing issues of racism and homophobia, including the nuances of internalised homophobia, topics that remain relevant and are still tackled in contemporary works. While advancements in technology and the evolution of discriminatory language might differentiate today’s context, the essence of the story remains compellingly plausible in the present day.

What does it tell us about the past and the present?

Sadly some elements of the play tell us that there is still a long way to go. When John describes feeling isolated in gay clubs, surrounded by white men who barely speak to him, or unrepresented in gay culture, we might draw parallels with today, albeit in a world where many interactions have move onto social media and hook-up apps. It tells us too though that there were artists addressing these very questions decades ago, and that plays exploring them in the 21st Century are not the first to do so.

What plays does it speak to/influence?

I think it’s telling that this play was not published by a major theatre publisher and, like many other queer plays, is not easy to track down. As such, it’s hard to know what plays it influenced or spoke to, as many of the plays it was in dialogue with are likely similarly ‘lost’

If you like this play you might also like…?

For more contemporary East Asian writing, check out British East Asian Plays, published by Aurora Metro. Among the works in the volume is Tango by Singaporean playwright Joel Tan, another rare example of an LGBTQ+ East Asian story with a UK connection, this time set in the 2010s.