DIVERSITY SPOTLIGHT: CATHERINE VĂN-DAVIES
Prolific in the Australian theatre scene with her portrayals of powerful women, Catherine Văn-Davies will next be seen on our screens as the lead in SBS’s highly-anticipated drama Hungry Ghosts, premiering August 24.
In the early 2000’s Catherine finished high school in Brisbane and was considering whether acting was a feasible career as it wasn’t something that anyone in her family had ever pursued. She performed in student films, took evening classes and despite being knocked back after auditioning at Queensland University of Technology’s acting course, she persisted, tried again and got in. Then after graduating, she didn’t get an acting gig for three years but then finally landed a well-paid TV commercial and headed to New York and to further her acting study. Being in a different city allowed her to build confidence and creativity. She toiled away happily in the independent theatre sector. Catherine then returned to Australia and is now one of Australia’s most busiest, hard-working actors.
What made you want to choose a career in acting?
I’m sure when I started it was all the classics: to be validated, to be accepted, and to be seen. But what’s kept me here well over a decade later is something more political. The politics of being seen have shifted to much more than my ego. I have also really recognised the importance of storytelling in the shaping and continuation of culture and humanity — and the bodies that tell those stories. I also really love actors and this shared reality we can create through imagination. It’s so special.
Who were your role models growing up in Australia?
I struggled to find role models growing up. That’s definitely made me more determined to carve a place of visibility for myself and others. For the younger me that felt incredibly lost, not knowing where I fit. Luckily, I’m the youngest of three, so my brother and sister were huge inspirations. When I entered the industry however, I got to know some really amazing trailblazers that have been around a long time and do incredible work, even if it wasn’t visible to me earlier in my life. My role models now are the amazing First Nations, women of colour and fellow queer folk who both believe and demand a better future.
What was your last acting job? And what did you learn & enjoy from that experience?
Right now, I’m doing publicity for Hungry Ghosts (August 24 on SBS @ 9:30!) and it’s nice to be reflecting back on that experience. There was a really amazing vibe on set and strong sense of community. It felt like we were all connected on multiple levels — the first was with the Vietnamese cast and our shared histories, and the second was the unity of Asian-Australian actors who have shared experiences of our industry and Australia. I’ve definitely learnt some pre-requisites before embarking on culturally specific work again. And part of that is knowing the true cost of being endowed as a cultural representative. I am extremely proud of what we were able to create and I cannot wait for it to be unleashed into the world! My last acting job was shut down mid-season due to Covid-19 back in March — No Pay? No Way! at the Opera House for The Sydney Theatre Company.
Do you think there’s enough diversity reflected in Australian film and TV?
There’s a lot to say. My short answer is no. Of course there’s been change — even within the last year. And the hard-fought efforts of those before me have allowed me to even enter this conversation. But the reality is, we still have an over-representation of white, able bodies. I frame it that way because when we look at a show and say “is there over-representation here?” — and I’m talking about all aspects of production, not just actors — then we realise that the problem isn’t solved by adding one or two non-white actors. Because the over-representation still remains true. More than one, say, Asian actor, is surprisingly not too many. We’re on our way, but we do need to keep updating the conversation as it progresses so we don’t have the false sense of hope that Heart Break High offered us in the 90s. I think once we stop seeing individuals or singular stories/narratives as the representation of an entire group of diverse and multifaceted peoples — in regards to both race and disability — then we’ll know we’ve honoured the wealth of diverse stories on this ancient land.
Who inspires you and why?
I’m so inspired by the incredible people around me of all ages. From the ones that have and continue to pave the way like Annette Shun Wah, Gabrielle Chan, Suzy Wrong, to my peers like Shari Sebbens, Diana Nguyen, Merlynn Tong, Nakkiah Lui, Miranda Tapsell, and also this INCREDIBLE wave of young creatives that are totally fearless. It invigorates me and gives me hope. Sounds deeply cliché, but I’m also very inspired by my parents and the resilience and integrity they both possess.
What have you been doing during Covid-19 to keep busy?
I’ve been very fortunate to have things here and there to keep me busy — especially after losing two shows. I’ve been nesting very comfortably with my love, Fayssal Bazzi in our little home and taking the time to really think about what I want the future to look like and who I want to be.
When did you become a MEAA member and why did you join?
In 2007, the year after I graduated, we were told we had to. But since then I’ve arrived at my own conclusion that they are an essential and critical part of our industry.
What advice do you have for anyone wanting a career in the arts and entertainment industry?
Master the art of being like tripe. Soft and tough. We’re often told that we need thick skin, which is not untrue, but the work I love most comes from softness — vulnerability, truth and empathy. When people warn you of the industry’s shortcomings, it’s there to equip you — not deter you. And destroy the fallacy of competition. We are an ecology that functions best with community.
Where do you see yourself in 10 years’ time and why?
I hope in ten years I’m still reinvestigating, learning and creating. I don’t have any more specific goal posts than that. If I did, I’d have not learnt a single thing from the last ten years. I also want to look back and go — look what we achieved.
What medium do you like best — film / TV or theatre and why?
They’re so different. I feel more comfortable in theatre, working in it more regularly — I love its immediacy, the camaraderie, how demanding it is and of course the more progressive casting practices (though there’s still a lot further to go!). But then I love the intimacy, the incredible world building and medium of film. Films often influence my theatre-making and vice versa. I am still getting used to the intense singular focus on you when you’re filming — that’s the trickiest part for me. Suzy Wrong also made an astute observation in an interview that theatre is immediate, but film travels. They both have limitations and strengths over each other and I just hope for a career that’s able to straddle both. Hungry Ghosts will be my first major role on television in my 15 year career, let’s hope I won’t have to wait another 15.
What is your motto that you live by?
You can always judge a Yum Cha by their Har Gow.
