Meet the Maker: Talia Pua
Published: Friday 11 September
Photo by Andi Crown
To start, tell us a little about yourself and your creative practice.
Hello! My name is Talia Pua and I am a theatre-maker born and raised in Tamaki Makaurau. My parents migrated here from Malaysia almost 39 years ago. I started out in the industry as an actor and have slowly been adding more strings to my bow as a playwright, director, set designer and puppeteer. I started a independent theatre company with Natalya Mandich-Dohnt called Hand Pulled Collective back in 2020. We like to develop and make original pieces of theatre that uplift marginalised voices in our communities.
What first drew you to storytelling and performance?
I think it was in year 9 at school when my drama teacher showed my class a recorded performance of Robin Hood on Youtube. The actors told the entire story with just their bodies in a space the size of a door. I think that really opened my eyes to the possibility of transformation within live performance. I’ve been hooked on that ever since.
What is the hardest thing about what you do?
The biggest challenge I’ve found this year as a freelance creative is discerning when I am at capacity. As creatives, we have to juggle so many projects at once. So, I’ve been trying to learn to trust my gut when something feels too much, and then also having the guts to say no. Of course, this isn’t always possible because we’re all contractors and jobs naturally overlap, and unexpected things come up, and sometimes we’re not in a financial position to say no. This year, I’ve been really blessed to have a lot of creative work lined up. But it’s made me realise that a sustainable career in the arts doesn’t just look like having work, it’s also ensuring you’re not overworking yourself.
You’re both the playwright and performer of Pork and Poll Taxes and The Girl Whose Twin Was a Bird. What is it like to bring your own words to life on stage?
It’s honestly such a privilege to be able to make my own work and to be able to bring it to life as a performer. I sometimes can’t believe that I get to do this as a job. But it is also a hella lot of work and hustle, not going to lie.
Are there any challenges you face in projects where you are the writer and Performer?
I think the biggest challenge is knowing when to switch off the writer's brain and switch on the performer's brain. The writer's brain can be quite technical and very big picture, while the actor's brain needs to be more present in the moment. I sometimes like to refer to myself in the third person like Writer Talia and Actor Talia. My second biggest challenge as the performer, especially when performing my own writing, is breaking out of the patterns that I’ve created during the writing process. To push past that so I can explore new possibilities for how to realise the character, blocking and dialogue.
What do you hope audiences take away after seeing Pork and Poll Taxes?
I really hope that audiences leave the theatre reeling, like they have gone on this rollercoaster of the journey every step of the way with our characters. I pray that they don’t leave thinking ‘oh that was a sad bit of Aotearoa’s history’ and go on with their lives. But instead they feel compelled to reflect on our society today, and their own biases and attitudes on the issues raised by the play. And in the words of one of the characters in Pork and Poll Taxes realise that we all have a role in making this country a welcoming and safe place for all.
What do you hope families take away after seeing The Girl Whose Twin Was a Bird?
I really hope families leave feeling super warm inside, as if someone has picked them up in a big bear hug and spun them around. I hope they walk away having learned something new about Malaysian Hokkien Chinese culture, and with a tasty hot bowl of freshly cooked Mee Hoon Kueh too! I hope kids are inspired to make their own puppets and tell their own stories. I hope the play resparks joy and magic in the family kitchen - perhaps they could try to make their own Mee Hoon Kueh at home!
What’s your favourite part of being a maker and performer? And what’s a challenge that has helped shape you as an artist?
My favourite part of being a maker and performer is telling stories that matter to me, that move people, and that spark transformation. I started out as an actor, but because work is scarce, it’s forced me to diversify and made me the artist I am today. Wearing lots of hats enriches my creative process as I have a fuller understanding of the making theatre from different perspectives and disciplines.
If you could give your younger self one piece of advice, what would it be?
Don’t waste time comparing yourselves with others.
Finally, describe Pork and Poll and The Girl Whose Twin Was a Bird in three words each.
Pork and Poll Taxes: Visceral. Tragedy. Migration
The Girl Whose Twin was a Bird: Noodles take flight
What has it been like to partner with Proudly Asian Theatre, Hand Pulled Collective and Auckland Live to bring both of your visions to life?
An absolute dream come true. Proudly Asian Theatre has been our big sister company since they took Natalya and I under their wings back in 2020. This was back when we wanted to develop and produce our first ever play, Pork and Poll Taxes. So being able to co-produce the remount season of Pork and Poll Taxes this year is really special for both our companies. I’m so grateful we get to partner once more with Auckland Live. Helaina and the team at Auckland Live are such champions when it comes to supporting local artists and productions. Their support means we are able to put this production on at this scale and reach as many Aucklanders as possible.
