Dear Mama is a new work of theatre by Lansy Feng exploring the excitement and tension of discovering new cultures in a new country. Written for a diverse ensemble cast, this cross-cultural love story slash comedy of errors tells the story of Taiwanese transplant Li-Ting.
ARTISTIC SUPPORT MATERIAL
ORIGINAL WORK BY LANSY FENG
How I Met My Dead Husband by Lansy Feng
Video extracts of How I Met My Dead Husband (2019), original cabaret by Lansy Feng.
Award-winning short-film Of Course I Speak French (2020) by Lansy Feng.
Original song ‘Pretend’ by Lansy Feng, sung in English and Mandarin, written for How I Met My Dead Husband (2019)
Extracts from reviews of How I Met My Dead Husband (2019)
“Four lifetimes and three cultures collide in this hilarious yet heart-felt cabaret comedy … This sassy, cheeky, talented hero is well-worth the trip to Footscray. She might even teach you a thing or two about love.”
– Sophia Dickinson, Stage Whispers
“How I Met My Dead Husband is a fun musical play, which explores the idea of love over multiple lifetimes and languages. Performed by the talented Lansey Feng, it was well put together and clever in its approach – funny and enjoyable to watch … having a play that spreads three languages is something that really should catch on.”
– Aidan Johnson, The Independent Arts Journal
“A love story spanning lifetimes, How I Met My Dead Husband is as funny as it is heartbreaking. Lansy Feng brings her soul to the stage in this surprising tale of star crossed lovers … Despite the great sorrow and tragedy underlying the ideas of How I Met My Dead Husband, Feng has a wry sense of humour and a wonderful comic timing which fill the hour full of hilariously unexpected perspectives … A stunning combination of surreal beauty and earthy reality, How I Met My Dead Husband is a top rate cabaret and shouldn't be missed.”
– Samsara Dickson, What Does She Think?
“As Feng weaves her love story across centuries and continents, she sings beautifully in a mix of Mandarin, French and English … The story feels at once completely original and like a timeless fable. It pays homage to the heightened romance of Taiwanese drama, but it’s also more than a love story – Chuen-Jiau needs to learn to love herself before expecting a man to do the same.”
– Jesse Paris-Jourdan, Beat Mag
“A love story that transcends time and lives, woven via song and witty dialogue, How I Met My Dead Husband is a beautiful story … bring your imagination and be swept away by Chuen-Jiau’s captivating story. Her messages within will stay with you.”
– Tay Around Town
RECENT PRODUCTION FROM WIT INCORPORATED
Every Second by Vanessa Bates, directed by Emma Drysdale
Teaser Trailer for Every Second (2021)
Extracts from reviews of Every Second (2021)
“Every Second is a glimpse into the turbulent lives of couples coping with infertility, and the range of reactions and responses that can result. Loose threads are tugged and converge, prompting ingenious and unexpected twists which are executed with a chill by a sensational cast. Well worth a trip to Footscray.”
– Owen James, Theatre Press
“In Every Second, director Emma Drysdale illustrates infertility into a darkly irreverent, highly entertaining show … Every Second will take you on a journey of heartbreak and comedy, including several legitimate laugh-out-loud scenes, which are a testament to the acting chops of Carr, Feng, Mealey and Nottingham.”
– Ross Battaglia, Milk Bar Mag
“Wit Incorporated's production of Every Second is both sensitive and funny, paying attention to balancing the experiences of both genders, by using many creative theatrical devices to tackle this common issue. All performances from the ensemble are strong, convincing, and highly believable.”
– Weekend Notes
“The individual forte of each performer is made evident, and this creates good chemistry on stage. The play infiltrates some of the most sexually intimate moments in the lives of the couples and the performers effectively capture the vulnerability and fragility that characterise their roles. This is often nicely contrasted with their ability to deliver the comedy of their episodes of psychological decline.”
– Patricia Di Risio, Stage Whispers
“Lansy Feng gives my favourite performance as Jen, a tough as nails, brash event organiser who can control everything but her own uterus. Feng finds a very emotionally effective balance between a woman who’s accomplished, witty and unapologetic in her interactions who finds a deep well of vulnerability and doubt within her … Emma Drysdale’s direction is crisp and efficient, she displays excellent leadership over the design aesthetic which is universally excellent.”
– Darby Turnbull, Theatre People
GALLERY OF PAST WIT INCORPORATED PRODUCTIONS
