Egan is an Asian-Australian theatre maker currently residing in Meanjin (Brisbane). He holds a Bachelor of Fine Arts majoring in Acting from the Queensland University of Technology. His theatre credits include working with Queensland based companies: Debase, Shock Therapy Productions, Queensland Theatre and La Boite recently Assistant Director to Darren Yap on the Matilda Nominated show, The Last Five Years and currently on a new work through Australian Plays Transform. Egan also manages an artistic collective called The Reaction Theory that produces theatrical works where he has been credited as a writer, director and producer and works part time for the Media Entertainment Arts Alliance as an Equity Organiser.
Egan Sun-Bin. Image: Supplied by artist.
1. Describe what you do in 100 words?
I can list all the creative things I do but ultimately, I'm an advocate for stories. I've only really come to realise this recently but when I write, direct, act or even organise, I work from a place of advocacy. It's why the role of creatives tends to go hand in hand with activism. I constantly champion others in order to create change around me whether it be writing a story for my Khmer community or even just embodying a character, there is always an opportunity to make a difference in someone’s life.
2. What’s your first memory of engaging with the arts?
F*** me. The first memory of engaging with the arts was when I was a wee one doing private speech and drama lessons. I did them initially because I loved acting and playing characters but... the first and special memory of my artistic practice stem when I participated in my first ever eisteddfod. It was 2008, I just started doing speech and drama lessons and my teacher suggested a couple of us participated in the prestigious Wynnum Manly Eisteddfod. I wasn't a very confident kid, so they only put me in one section. The Set Poem... I don't remember the Poem except for the fact it was about a Magpie. I never attended or competed in an eisteddfod before, so I didn't expect much. I was pretty nervous and shaky when I performed, and I didn't feel confident about it after. I remember my friend James going after me and he felt just as nervous.
But the kid after him...
Mate...
When he walked on the stage, he didn't just spoke his poem. He shouted. My god. He was turning this Magpie poem into a heavy metal performance. My friend and I were shooketh.
Once all the contestants performed, they announced the winners. I don't consider myself talented. I was never born with the skill to act or to write or anything. Things came harder to me creatively compared to others. So listening to the adjudicator, we just suspected the other rich theatre kids would win the medals and to my surprise, I ended up getting second place. I wasn't ready for this. Second place was such a big deal to because this was the first time, I ever won something. I was so excited. I remember taking it home to my Khmer-Chinese mum and she... she was so proud of me.
But what I didn't tell her is that shouty kid won first place and I was like "the heck?" because he just obliterated that poem, both James and I were shook he won. We both vowed, we would come back and win it.
So I guess the first time I really engaged the arts was then.
3. What motivates you to create?
What motivates me to create is the opportunity to feel again. I mean... I feel all the time but creating work, it awakens emotions that we haven't engaged in a long time. We're so good at just sticking with the emotions that are "useful" but in the creative work, as an artist, we'll be constantly challenge to go places others wouldn't. And then when audiences come in, they get feel what you felt and potentially make a difference.
4. Can you describe your ideal working environment?
Theatre is always about creating something for people so to me, when you have the right people around, you create something special. I was recently in one of those spaces and every day we cried, laughed, talked about how we've been roasted by teenage girls. I felt motivated and inspired every day to create. I hope every time I work in a space, it feels like that.
Egan Sun-Bin. Image: Supplied by artist.
5. Who is an artist that inspires you and why?
I think an artist that inspires me is not an artist but she kinda is. I have the pleasure working with Michelle Rae and my god she's such an advocate for performers. For those who don't know, Michelle is the Director for the Equity Section in the Media Entertainment Arts Alliance. What she does is consult with performers (actors, dancers, stunt performers and even trick riders) and with their consent, coordinate actions and campaigns in order fight for quality jobs and sustainable careers for performers. This is not only on a state level (QLD Represent!) but also on a national level.
That job itself is a handful, but the way Michelle works displays qualities of a leader that leads with their heart. Her compassion and determination as a human being makes us so fortunate that she is working tirelessly day and night to make sure performers aren't undercut for their work. She picks up phone calls on the daily from performers who need her help and never fails to provide generosity. It's just that she is willing to go the extra mile and has the drive to do so.
I think lately, we are craving more leaders with these types of leadership styles and those who have the vision to fight for a sustainable arts industry, especially after COVID and funding cuts. I think Michelle's artistic practice as an arts advocate inspires me and hundreds of artists because without her, we would believe that artists like us can make a difference and one that is for the better.
She may not be an artist but the work she does to fight the fight makes her an artist in my mind.
6. Can you describe your ideal collaborator?
I think my ideal collaborator is open enough to ignite inspiration. That's what keeps the room motivate. It's what wakes me up and keep me coming back to the room.
Also... safety is my number 1 concern. I know too many artists who disregard the safety of others and themselves for the sake of the art. We don't need to torture ourselves for a role, we don't need to die over a play. I always tell people, put the human before the artist. I wish more people could do that for others and for themselves.
7. What time of day do you find yourself most creative and why?
Well... for me, it's not a time of day but rather a period. I get real creative in Christmas time or even Easter period. Those are the times where I can have most of my thoughts to myself because I don't need to think about work or other things. I think it's because we always try to "grind" but the only time we really can relax (because we're forced to since everything is in shutdown) is Christmas.
Unless you work in retail or hospo then R.I.P.
8. Do you think art is important to society and why?
I think art as a concept yes. We need culture and creativity to innovate, to educate, to inspire.
But... like... not all art is like that and personally, I think that's a good thing.
When we talk about "the arts", we put this idea on a pedestal and worship it as if only the elite can engage or make it. Don't get me wrong, it takes skill and dedication but this ideology creates a toxic mindset and affects the process of making.
I think it's more particular for arts of a minority because we feel since there's not much representation out there, every time we create, it must be the gold standard. But a friend once told me, "You know, white people make useless art all the time."
Art is important but it shouldn't be a burden to make every single piece of art important.
Egan Sun-Bin and the creatives from the creative development of Kung Pow Cambodia. Image: Supplied by artist.
9. What is something you have created or a process you have been a part of that you are most proud of?
I'm actually still in this one. I've been writing a play through ATYP's Fresh Ink Mentoring Program and through the Untold Stories Retreat called Kung Pow Cambodia. It's a play about a daughter trying to connect with her Khmer - Chinese mother through their mutual appreciation of Kung Fu.
Even though it's not completed and, in the works, I'm very proud of what I achieved in this story and the people I've met who are Khmer and really resonated with the work. It's the first time I’ve written a Australian-Khmer story and I've always wanted to write one because in terms of representation of Khmer people in Australia in the arts and media, there isn't much.
During the Khmer Rouge Regime, a lot of artists were killed, and resulted in a halting of culture growth for Khmer people in Cambodia and those who fled. We've had movies like The Killing Fields but only recently we had Khmer artists leading Khmer stories. It's been more high profile in America than it is in Australia.
So, wherever this story lands, I'll be very proud because it's a first and I hope it won't be the last.
10. What are you working on right now, if anything?
For now, I'm just focusing on myself, but I'll be going down south to help direct 'The Peasant Prince' and that will be touring all over the east coast. It's based on the story of Mao's Last Dancer.
Also, I'm hoping to bring back my artistic collective The Reaction Theory back in 2024 with an exciting play from across the seas. I can't say much about it but it will feature Meanjin's best emerging artists and will be a show stopper.
If you are or know of an artist that might like to feature in our Spotlight: 10 Questions series please send us an email to hello@thatproductioncompany.com.au.
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