On the theatrical canon:
“What do the Asian plays of periods other than our own look like?”
“We don’t see any Asian work from that period – or from any other time in the 20th Century, really. There’s a lot of Asian work being made now, but plays like this are the predecessors.”
In Australia, knowledge of Asia’s theatrical canon is close to zero, Wong says. “I sometimes wonder if the idea of diversity we’re developing here now had come about 100 years ago, what kind of works would we have seen? We know the old American and British plays but what do the Asian plays of periods other than our own look like? That’s the theatrical canon I want to interrogate.” – Tackling tokenism head-on (Audrey Journal)
On representation:
“One of our aims is to improve representation and often things that I do here still revolve around the issue of people not being able to find POC cast or crew. So, I wanted to create a platform where you could find them, because they were all in one database, so you can just email Slanted Theatre and ask, “do you have someone that fits this bill?”. Another thing that I often hear is that POC artists and theatre makers also don’t have enough experience. Through Slanted Theatre, I’m hoping to create enough opportunities and to give those people experience, so that that argument is not valid anymore.” – Theatre, Representation and Three Fat Virgins – In conversation with Tiffany Wong (Asian Australian Project)
On the future of diversity and inclusion:
“I’m waiting until we reach that point where people from marginalised communities can make bad art. That’s my marker of whether we actually have achieved diversity and inclusion. You know, we’re so proud of being women of colour on this team. But then, if we bomb, people are going to be thinking and saying, “well, women of colour can’t make art”. So, that’s something that’s been really stressing me out.” – Theatre, Representation and Three Fat Virgins – In conversation with Tiffany Wong (Asian Australian Project)
Slanted Theatre 