Quick introduction to your production, venue and performance times.
Blondie Blue Eyes is a chaotic, experimental two-hander play with elements of drag, clowning, slapstick and movement, following our titular character Blondie (you read that right: first name Blondie, middle name Blue, last name Eyes) an Asian girl who wants to be white so badly that she becomes a ‘perfect’ caricature of a white woman. Throughout the course of the play she suffers through a cyclical hell loop in an oddly meta reality show/fringe show/vlog hybrid, controlled by a mysterious Narrator who always pushes her back into her conquest for ‘perfection’.
Showing at the Canal Café Theatre in Little Venice, 4th, 9th, 10th November at 7:30pm.
What inspired you to start making or performing theatre?
I was one of those kids that was really into Hamilton in 2016. I was like, maybe 12? That was my introduction to theatre and stage shows. I never really wanted to go into theatre as it was never an option for me, coming from a family and STEM-focused environment that very much restricted my options in the future. It wasn’t until I was 18 and working as a front of house team member at a theatre that I realised that it was an option to go into the arts.
Have you taken this production anywhere before? How was it received by the audience?
This is going to be the first ever showing of Blondie Blue Eyes, the premiere of my debut play! After Voila, we’ll be heading on to the Camden People’s Theatre as part of their SPRINT festival programme.
Why did you choose to perform at the Voila Festival?
I’d participated in a production being brought to Voila in 2025 — 88 metrés par seconde’s Le Grand Soir — where I was the resident dramaturg helping to bring their multilingual production to life and considering how translation and alienation can be used to create audience impact. This experience introduced me to Voila!, as well as getting to know last year’s Theatre Deli residency artists. Oh! My My through participating in the Lambeth Fringe with them
Has there been anyone in your life who has inspired you to work in the theatre?
Honestly, my biggest inspiration is always spite. Growing up I was often told by my parents and the adults around me that the arts weren’t a viable career choice, and believe it or not, I even went to medical school for a couple of years! It was then that I realised that these ‘ideal careers’ were also crumbling in our current day and age, so I decided to just go for it and begin training to become a theatremaker instead.
How long have you been working on this particular production?
I started writing Blondie in September 2025 as a response to a group of white friends I had at the time who took the matter of the Tommy Robinson white supremacist riots lightly. The play came from a place of deep set rage towards them and a self-interrogation to how I, as a racialised immigrant from Hong Kong, was distorting my own self and whitewashing my experience to be accepted. Since then, I’d gathered a team of other queer ESEA creatives for a workshop in April 2026 and then applied for Voila – where we were fortunate to be chosen as this year’s Theatre Deli Residency Winners.
Do you have anything that you are planning on seeing while you are at the Voila Festival?
I’m quite excited to see The Café at the Etcetera Theatre, produced by my peers at the Royal Central School of Speech and Drama! I’ve also seen a previous production of July 15th to… at the Edinburgh Fringe, so I’m anticipating seeing them put it on again at Theatro Technis!
What would you like audiences to take away from your production?
When audiences leave the space after this show, I hope that they carry some part of Blondie’s essence with them: I hope that this show leaves a lasting impression and acts as a call to action for audience members. There are two separate endings to the piece, dependent on the audience’s willingness to participate. It’s really easy to fall into a ‘false’ and ‘true’ ending dichotomy, but in reality, they are both ‘true’ endings and reflect how we interact with the world. Essentially, I want you to understand that inaction is a conscious choice that will affect those around you.
Leave a Reply