Interview with Stephanie Renae Lau about Do You Know Where To Go From Here

©️Photo by Myriam Angela

Interviewee: Stephanie Renae Lau
Interviewer: T Wu

Q: Hello Stephanie, you’re bringing your new work, Do You Know Where To Go From Here to London. Could you tell us what the piece is about and why it’s important to you?

A: ‘Do You Know Where To Go From Here?’ is a dark comedy exploring how to thrive despite grief and uncertainty following you from past to present, from one place to another. I wrote this show to make sense of the big life changes I’ve gone through in the past decade, and wanted to talk openly about ambiguous grief (ongoing grief with no closure), which isn’t a topic I’ve seen explored very much. I know a lot of us are going through challenging times right now; I’d like to give people a space to lay these things down and connect them through community in the space.

Q: Do You Know Where To Go From Here is a one-woman show exploring themes of “family, faith, and migration”. With many similar narratives being presented today. What makes work distinct? What sets it apart?

A: I’d say this show takes the personal, socio-political, and existential threads of grief and weaves them into one in-depth narrative. In my experience, the micro and the macro often compound on each other, and there are many layers to grief. The absurd comedy in this piece is also influenced by the European Clown tradition, as I was researching it during my Master’s programme. Lastly, the show highlights the recent wave of migration from Hong Kong to the UK, which is a historical moment in the making that people might not necessarily know about.

Q: Could you share more about the creative process behind this new work? Were there any particularly interesting design choices or storytelling discoveries along the way?

A: I wanted to be able to tour this show, so the set had to be able to fit into a suitcase and be easy to set up/take down. I have been obsessed with the concept of ‘baggage’, so that translates to having heaps of clothes on stage. It has physical weight but is flexible enough to generate many creative possibilities.

I love having the audience derive their own meaning when I manipulate an object to symbolise another thing. In my previous show ‘Time and Time Again’, six wooden chairs became a wardrobe, a bathtub, etc, so in a similar vein, a shoe becomes a phone, a shirt becomes bicycle handlebars, a jumpsuit becomes a person. The sound design works similarly. (Sound Designer) Victoria and I used the sound of a fork scraping across a radiator to mimic the sound of train tracks, or guitar strums representing the chanting of a crowd. It’s all about repurposing something and transforming it into something new, which is very much in the spirit of the show.

Q: In the piece, she begins tidying up when she feels there’s no way out. Why does she respond in that way, and how does that moment resonate with you personally?

A: The protagonist Sophie gravitates towards tidying up because it helps restore a sense of calm, but it’s really a false sense of control. It is also a form of distraction by making herself busy. In my own life, I have a bad habit of immediately going into problem-solving mode instead of letting things sink in or burying myself with work to numb the shock. It’s uncomfortable sitting still to feel difficult emotions, which I think she and I both have in common. At the end of the day, we have to accept and even embrace that things will always be messy, but maybe we can make use of it somehow.

Q: You’ve mentioned that you’re “interested in highlighting untold experiences through a comedic lens.” Why do you choose comedy as your approach? How does it shape or influence your storytelling?

A: I wanted to talk about serious topics with no concrete answers, but that sounds like a depressing night out for the audience, and personally, a nightmare to perform over and over again. This has to be fun to do, but also fun to watch. Humour makes it an easier pill to swallow. Over time, it’s started to influence the way I perform or write: silly, absurd or snarky observations always creep into the scene, and frankly, I’m not mad when they do!

Q: You’ve also said that you hope to create work that connects with a global audience. What draws you to that idea of global connection?

A: Our world today is becoming more and more fractured in terms of politics, values, and beliefs, and I’d like for us to remember what we have in common across borders. We all know what it’s like to feel joy, disappointment, grief, and anxiety. Perhaps it comes from a selfish desire to feel more connected to others, but I have a feeling I’m not the only one.

Q: How do you ensure that audiences from different cultural backgrounds can understand and engage with your work? What do you hope they will take away from this piece?

A: I switch between Cantonese and English in the show. People who know me know I’m a huge language nerd, and I love listening to how a language sounds without understanding the meaning. It doesn’t matter if people don’t speak my mother tongue; they can see how a Cantonese line is being delivered physically by one character. For example, you can see Sophie’s mom being displeased about her life choices. I always have Sophie respond in English so the audience is not left confused for too long. I hope audiences will feel invigorated hearing something so different to their own language, and take joy in being able to connect with the characters from another culture.

Q: Finally, why should audiences come and see the show?

A: All of us are going through something that we may not have words for, and that can be very isolating. If you’re feeling lost in life or carrying a lot, there is space for you here.

This show will be performing at The Space Theatre in London from 31st March to 4th April.

For more information about Do You Know Where To Go From Here?, please visit: https://space.org.uk/event/do-you-know-where-to-go-from-here/ or follow Stephanie on Instagram at @stephanie.r.lau and @doyouknow_show