Diana Feng is an actor, playwright, and producer. She graduated with an MA in Acting from the Royal Central School of Speech and Drama. Feng is also set to be the first person to receive a PhD in Culturally Specific Performance Practice and British East and Southeast Asian Representation from the same school. She is at the forefront of exploring and challenging cultural narratives that shape our understanding of representation in entertainment.
She is a co-founder of WWWC, a non-hierarchical creative collective dedicated to fostering creativity and uplifting marginalised voices. Through her writing and performance, Feng is known for crafting compelling narratives that are both innovative and necessary, pushing the boundaries of theatre to make space for important, often overlooked stories.
Her recent acting work includes Bat Night Market at the LIFT Festival 2024, Surrogates at A Pinch of Vault, and Chinese TV shows such as Tientsin Mystic Seasons 1 and 2, and Young Blood. Feng’s new play Don’t Call Me China Doll plays at Edinburgh Fringe with performances beginning tomorrow (31 July).
The play follows China Doll as he prepares for the audition of a lifetime—playing Anna May Wong, Hollywood’s first East Asian starlet. China Doll must confront and untangle the ingénue’s legacy as she discovers astonishing parallels between them.
Q&A with Diana Feng
How does it feel to be heading to Edinburgh Fringe?
It’s incredible! I guess you could say I’m both returning and debuting at the Edinburgh Fringe this year. Last year was my first time at the Fringe, producing and directing a show I co-wrote. This year, I’m back with my debut one-woman show, and it feels like a completely different experience. I feel so lucky to share this important perspective with the world. Having Edinburgh Fringe as the stage for my debut—what more can I ask for?
What can you tell us about your show and its inspiration?
“Don’t Call Me China Doll” is inspired by my friends’ and my own experiences as East and Southeast Asian (ESEA) creatives living in the West, along with the story of Anna May Wong. Through many conversations, I realised that internalised racism is something we all experience but rarely discuss. This show dives into those feelings of not being “Western enough” and explores those core beliefs.
How do you think audiences will react to the show
The show has a lot of dynamics. It creates visceral feelings, especially if you’re a third culture kid who grew up in multiple places or moved to a different country. During previews, we’ve seen audiences laugh and cry. They approach us after the show to share how relatable they find the story. We’ve gotten lots of feedback about how internalised racism is rarely talked about and how it’s the first time they’ve seen this perspective on stage, presented so raw and honestly. Some have also discovered feelings about their own self-worth. The title might be “Don’t Call Me China Doll,” but it’s not just for people of Chinese descent. It’s about the global feeling of wanting to be accepted, fitting in, and struggling with self-acceptance.
How have you been preparing for the festival?
I’ve been trying to live a more conscious lifestyle. Last year, I did a few months of dry June, July, and August to prepare mentally and physically for the Fringe. It was really helpful for keeping my mind sharp and my energy up, especially for doing a show every day, flyering on the street, and attending meet-up events. This year, I’m planning to do the same, tuning inward and keeping a dry EdFringe to stay focused and energised.
Will you get a chance to enjoy the rest of the festival?
Yes! I’m really lucky to have a midday show time at 12:55 pm. So every day, I’ll be [finished early] and free to enjoy the rest of the festival. I’m looking forward to seeing other shows, meeting brilliant ESEA performers and creatives, and soaking in all the inspiration the festival offers.
Don’t Call Me China Doll is at Underbelly Bristo Square from the 31 July to 26 August
