“I graduated on Thursday, so no more school
forever!” Nina informs me, which comes as a surprise. Not for the reason you might think.
First time I saw Nina Oyama
perform, she was in her school uniform, school bag in tow, evidently having come directly to the gig from school.
“Actually,” she says, “I’d come via work. It was a choice between the work uniform and the school uniform.” The work was Maccas, and Nina had already gigged in the Maccas uniform; clever and dedicated from the beginning, she was keen to see whether the same material got a different response with a different uniform…
Next thing I hear, Nina had dropped out
of school. And was hanging out with that Phuklubcrowd. Suddenly I’m acting even older than I am, since an old man rant build.
Because – not that it was any of my business – to me, that’s clearly a mistake.
Not just ditching school for a life of
comedy (cos that’s likely to be extremely lucrative!), but ditching it for a life of comedy where, as a newbie,
you’re plunging headlong into the world of
alternative-and-not-necessarily-funny comedy. (I’m not having a go; the Phuklub comedians are hilarious and what
they’re doing is important – see my write-up.)
I’m just saying: breaking all the rules in
comedy is all very well. It’s certainly better than breaking all the rules in
school – more advantageous dropping out if that’s the case – but as in all art,
in comedy, it’s better to have learnt the rules before you break them, because
then you know what you’re doing. Even if you don’t quite know where you’re going, you can have the faith that you’ll come back safely, and the audience are aware of that even if they don’t realise it, so they go with you, and everybody has a fun adventure.
Consider, for example, the
discordant notes that Mike Garson plays in David Bowie’s ‘Aladdin Sane’: they work as
music despite being all over the place rhythmically, melodically and harmonically because there is form and technique to the mess. As opposed to someone just hitting
random notes heavy-handedly. Those years of learning scales and technique pay off.
Except, perhaps it isn’t. Perhaps learning
stagecraft while being polite and predictable is less valuable than learning
how to fly blind, to jump and hope the net will appear.
But there’s no need to deploy the old man
rant. Not just because Nina has been sensible enough to spend as much time in
more traditional comedy rooms as she has in experimental variety, honing her craft to a great degree for such a short time at it. Also because, as she puts it, she “went back to school, tail between my legs, and completed Year 12
successfully”. Oh, she’s still got to sit the Higher School Certificate examinations, rest
assured. Which means buckling down and studying almost immediately. But not before one spectacular ‘last hurrah’. Which is why we’re talking. Before she hits the books with a vengence, Nina’s performing in a show she put together for the Sydney Fringe Festival, featuring a bunch of fellow kid comedians.
“I wanted to do a Fringe show but I didn’t think I was able to do it by myself,” Nina reckons. Having made the Class
Clowns final this year, she figured, “man, there is just so much talent and
people who are young have so much cred,” so she put a show together around
some of her Class Clown peers.
Well, I say ‘peers’; at the ripe old age of 19,
Nina is the senior member of the group. They’re already being noticed by people who matter in the industry, but what’s most important is that they’re funny. I’ll let them speak for themselves through their own press bios.
(18) – With titles under his belt such as Winner of Class Clowns 2009 and a
performance at the Melbourne International Teen Gala 2011, Neel is definitely
one to watch. A master of impressions, reviewers have described his stand up as
warm, casual and current. Neel’s other passion is gangster rap, which he writes
and performs. Neel has never been to jail but considers his tight knit Indian
family a ‘gang’.
(16) – Student, skater and self-confessed serial masturbator, Jordan’s stand up
encompasses what it truly means to be a teenager. Based in the Central Coast of
NSW, Jordan’s laid back storytelling style lead him to become one of the
youngest Class Clowns National Finalists in 2012.
Nina Oyama (19)
– When she was seven, Nina ate bugs as a dare and secretly liked it. Ten years
later, she tried stand up comedy as a dare and secretly liked that too. Finding
it easier to make people laugh, Nina gave up her dream of becoming a
professional bug eater. A Class Clowns State Finalist 2012, her act combines
both music and traditional stand up. Nina has entertained both locally and
interstate. She was recently selected to perform at The Sydney Comedy Store as
part of the Sydney Comedy Festival Showcase. She also writes for the Australian
comedy website BonVivant.com.au. (I'd link to this, but it defaults to the 'Gourmet Explorer' homepage - Dom)
Aaron Chen (17)
– Breathing heavily and pacing nervously across the stage, Aaron doesn’t feel
comfortable until he knows what toothpaste the audience uses. At the precocious
young age of 16, Aaron became one of the youngest paid performers in Sydney.
Aaron’s killer punch lines and savage wit have earned him the accolades of
Class Clowns State Finalist 2011, Winner of Class Clowns 2012 and Quest for the
Best Finalist 2011. Most recently Aaron was given the opportunity to perform at
The Sydney Comedy Store in the Best in Live Comedy Winter Showcase.
Stewart (18) – Despite growing up in the notoriously rough outer suburbs,
Madeleine is one classy young lady, complete with a sharp dress sense and a
penchant for opera singing. Her clean-cut one-liners and political stylings
have had her talked about everywhere, most notably on Wil Anderson’s podcast, TOFOP.
Madeleine was a Class Clowns National Finalist in 2011 and State Finalist in
2012. She also only has one arm; her mother was forced to keep her because the
hospital had a ‘you break it, you bought it’ policy.
Barely Legal is playing Thurs 27 to
Saturday 29 September from 18.30
to 19.30 at the Laugh Garage Comedy Club, Cnr of Park and Elizabeth Street Sydney 2000 (Ph 9264 1161).
Registration for Class Clowns 2013 opens October 5.
“Will this end with me beind date raped?” Michael Hing responds to my initial offer of an interview
over a home-cooked meal. Instead, I make him the Mafia compromise: a meal he
can’t refuse in a public place where neither of us has the clear advantage. Although
I have slightly more, since it’s a pizza place in the shopping strip where I
work. But as no firearm has, to our knowledge, been strapped behind the
cistern, and neither of us comes out of the john with just our dick in our hand, it’s
still clearly the right decision. (I’ll see your Gen Y ironic rape gag with a
Gen X pop cultural reference, Hingers!)
“I’m a filthy
vegetarian,” Michael warns, avoiding the option to share an entrée or split a
family vegie supreme. “I don’t mind separate pizzas, whatever’s easiest for
you. I don’t want to cause any trouble…” No trouble at all. Hing’s exquisite
taste and tiny appetite means I get the best of both worlds. And our long
conversation ensures I’ll need it.
Although it seems like
he’s been around for a relatively short period of time, Michael Hing’s been
involved in various modes of comedy for ages; he’s done just about everything,
his disproportionate hunger for comedy seemingly outweighing any other need or
desire in life. If there’s any
interesting new movement or trend happening in comedy, chances are Michael will
be somewhere close to the centre of it, since most if not all roads lead back
to Hing. Particulary at this year’s Sydney Fringe Festival where Hingers seems
to be producing or appearing in some 20-odd shows, making it very much a Sydney
Stand-out elements of
Michael’s comedy include his need to outline an informed socio-political
position. He’ll rant, but the rant will be backed up by facts. On a personal
level, however, he specialises in a line of self-conscious, nerdy absurdist
self-deprecation – but the self-deprecation is never racially based. That, he
eschews with an almost Richard Dawkins-like fervour. Which is where I most
often want to take issue, because even if the so-called ‘wog comedy’ and Asian
permutations thereof are unsophisticated, they still serve a purpose.
Unsophisticated people deserve to enjoy a laugh, too. But we’ll get to that,
and just about everything else, in good time.
My first memory of
Michael Hing was of that self-conscious Sydney Uni kid with the dreadlocks,
giving Raw Comedy a go. Twice. Within weeks of each other. First as a solo
stand-up, then as part of a kind-of-‘sketch’ double act with another Sydney Uni
kid called Neal Downward. The double act was more memorable than the solo
stand-up since it cleverly – perhaps too cleverly – deconstructed performance itself. Metacomedy. Earning Hing and his partner, Neal
Downward, a bit of coverage in MX when
they made the state semis. Next thing I know, Hing and Downward are producing a
sketch troupe consisting of a whole mess of Sydney Uni kids, called ‘The
Delusionists’, in their self-titled show for Sydney’s Big Laugh Festival and
the Melbourne International Comedy Festival.
The Delusionists, (l-r when they first appear): Ben Jenkins, Alex Lee, Steen Raskopoulos, Benita de
Wit, Paul Michael Ayre
“That was all within the same six month period,” Michael acknowledges:
“a pretty quick turn-around!”
What happened was, a year earlier Ben Jenkins – who would become one of
the Delusionists – made it through to the Raw Comedy National Finals. Hing’s
housemate, a high school buddy, was friends with Ben, so Hingers ended up
seeing Jenkins in action and thought “I could probably do that” and gave it a
“I didn’t have the drive, performance ability, talent and experience Ben
had,” Michael recalls. “And I was really, really new and Raw might have been
the second time I’d done comedy.”
“I forgot most of my set that night, and stood
in silence in the light.”
What was interesting was the night’s feature act – the professional
comic who entertains the loyal audience as a kind of reward for having sat
through a dozen newbie amateurs – was Nick Sun. And he more-or-less “did
exactly the same thing, which is, come on into the light and be silent and not
know his jokes.”
“When Nick Sun did it, it was hilarious because it seemed like it was
deliberate. When I did it, it was like, ‘what are you doing…?’”
The rise and rise of Michael Hing began with a couple of improv classes
towards the end of 2005 – which makes complete sense since Theatresports and
the tradition of improvised comedy have been strong at Sydney Uni just about
forever. Peripheral involvement with that year’s Arts Faculty Revue whetted his appetite; Hing directed the Architecture Revue the following year. “I
didn’t perform, but I wrote a lot for it,” he says, admitting that his early
attempts at comedy are a little embarrassing now. “It was terrible. I was
consciously trying to do stuff that was different to everybody else, but it was
a case of ‘you have to learn all the rules before you can break them’.”
Hingers did try to be different: whereas the first commandment of
University Revue seems to be ‘Thou Shalt Taketh the Piss Out of Other
Faculties’, under Michael’s watch, rather than take on Engineering, Education, Science and Arts, the Architecture Revue sought to be “‘different’ and ‘crazy’ and ‘out
there’ and ‘whoooooaaaah!’” Without sufficient experience the result, according
to Michael, was “this weird mess of ideas” where, of the 90-minute show, “maybe
40 jokes were funny and 50 million jokes were terrible”.
To be fair, every sketch show is hit-and-miss unless it’s put together
some five years into the participants’ careers, where they can draw from the
best of everything they’ve done thus far. And even then, the best sketch shows
are the British ones where there’ve been several series on Radio 4 before the
best bits thus far are chosen for the debut television series. You don’t know
that when you see that television series; it just looks like someone amazing
has come out of nowhere to work comedy magic.
Be that as it may, John Pinder – Aussie comedy pioneer who’d helped
found the Melbourne International Comedy Festival way back when and was still
consulting for television producers and heading up one of Sydney’s numerous and
disparate festivals (The Big Laugh Festival at the time) – happened to see the
“I don’t really understand what was going on,” Hingers says, “but for
some reason, he liked it and gave me a bit of money to put together a sketch
crew to be a part of that year’s Big Laugh Festival, and from that, do the
Melbourne Comedy Festival’.”
Thus, The Delusionists came into being.
Remember, by this time Pinder and producer Chris McDonald had created a
‘best of the university revues’ live show called The Third Degree, which eventually became the Ronnie Johns television show.
“The Third Degree already had
a format, so we came in at a time when the exact theatre that they were in –
the Kaleide Theatre at RMIT – was free, and there was what John described as ‘a
gap in the market’, which we filled,” Hing recalls. “People had heard of The Third Degree and wanted to be a part
of that experience in terms of sketch and discovering new comedy, so in our
first year, we had a lot of ticket sales that we didn’t really deserve.”
Undeserved perhaps, but definitely earned. When you go down to Melbourne
with a sketch show, you have a mass of performers as well as crew – a small
army that can cover all the bases when flyering punters on the street in the hope they’ll come see your
show. And it did seem they knew what they were doing, even if it was mostly
front and bluster. But Hingers comes clean:
“That was mostly copied from the model these guys were running. They had
all these rules and tips that they gave us, so we weren’t going down completely
‘fresh faced’, although, to all the people who didn’t know us, it was like,
‘who are these kids who have come down and sold 200 tickets?!’”
It’s not like they hadn’t done it before, really. They’d flyered
strangers for their uni revue, and the had the likes of Dan Ilic and Jordan
Raskopoulos – Third Degree and Ronnie Johns veterans – teaching them
stuff. The result? A good first show that earned a three-and-a-half star review
in The Age. They were overjoyed. “The Age! The paper! It came and saw our
show!” Michael recalls.
At this stage of his not-quite-career, despite an initial foray into Raw
Comedy, Michael Hing is sticking to writing and directing rather than
performing. And having cool dreadlocks, I suggest. “Yeah, and just being a real
weird dude,” he adds.
The following year, of course, the Delusionists return to Melbourne with
The History of Everything that Ever
Happened. Ever and sell out some 23 of their 25 shows, despite being on at a
ridiculously early timeslot. There are suggestions that TV is interested,
though nothing immediately comes of it. Although, the major difference this
time is “we get a two-star review from The
Age, and they call us homophobic and racist and the rest.” According to
Hing, “that really hurt” because they were all “crazy, left-wing, politically
correct people” with “totally innocuous jokes” that “weren’t even about race or
gender”. Indeed, Michael stresses, indignant, “it really hurt to be called homophobic when
we’re the type of people who go on marches for this kind of stuff. We’re Sydney
Uni students. Don’t you understand? We vote for the Greens!”
Ah yes. A half-decade or so earlier, they’d be rich kids who could
afford, in time, to be ‘chardonnay socialists’. Understood loud and clear. But
that doesn’t make them any less funny. Or politically incorrect necessarily (although,
I resist pointing out, this interview did begin with a date rape gag, ‘ironic’ and/or
‘absurd’ as it may be). If the Delusionists were guilty of anything, it was of
being a bit too clever-clever.
Still, it served as a lesson to Michael Hing in
his formative years.
“That’s when I first
started thinking about how careful you have to be with your comedy in terms of
what you’re saying and what you’re doing. The onus isn’t on the audience to
interpret it. The onus is on you to give them a message that they couldn’t
possibly misinterpret. You dictate how they interpret you. It’s all on you.”
After that year, Hing quit the group to
concentrate on solo comedy.
“I was too insecure to work in a group,” he says. “I’m not performing,
so I’m thinking, I’m not the funny one; they’re getting all the laughs, I’m
just writing jokes.” By this stage, the Delusionists were a strong troupe of
performers, and as such, pretty much directed themselves. “I’m like, ‘you know
what, I really want to do my own thing now. I want to go back to Uni and do
drama and some other stuff, maybe finish my degree, I don’t know.’”
Back to Uni
That’s an interesting diversion at this point. What exactly was Michael
studying? The plan out of high school was to follow Mama and Papa Hing into
medicine, because Michael was a pretty smart kid.
“But then it turns out I’m not smart enough to do that,” Michael says, “so
after six months of that I move to teaching for about three years.”
After teaching, Hingers tried his hand at counselling. “I go on a school
counselling prac and I expect it to be ‘oh like, hey, talk about your feelings
and stuff’ and on the first day it was, ‘my mum’s an alcoholic, my dad’s a
heroin addict, what have you got for me?’ I was like, ‘this is out of my
league!’ so I ditched that because there was no way that I could really help
Six months of architecture ensued. And then an
attempt at a philosophy degree.
“The point is,” Hing says, “I never graduated.”
Hang on, Hingers. You’re an Asian kid. You have an intellect. Both your
folks are high achieving doctors. How do they feel that you need to be a clown?
“They are amazingly supportive of this unmitigated bullshit,” Michael
says. Although his routine is littered with jokes about his parents
disapproving of his life choices, “in reality,” he insists, “they are just
amazing. For example…”
Before he launches into his example, Hingers
falters and has a second thought.But then says, “Yeah, I’ll talk about this,” and carries on.
“I had an opportunity two years ago to audition for a television show
which never got made. It was a sitcom. I got asked to audition for the part of
this Asian character who spoke in a weird accent and did a lot of Asian jokes…”
If you know Michael Hing at all, or have seen him on stage, you will
almost certainly know that this is anathema to him – playing the
self-deprecating, comic-relief, cheap-laugh Asian. And yet – sitcom. Television
work. Income. Perhaps fame.
“I was kind of not sure about what I wanted to do or whether I should do
it, and my dad was like, ‘Michael, you didn’t do uni because you don’t want to
have a real job; if you start doing stuff like this that you’re not passionate
about and don’t believe in, that’s like having a real job. You need to do what
you want in the way you want to do it.’”
Cool dad, huh!
“That is one of the biggest influences on what I am trying to do,”
Hingers acknowledges. “My parents are super, super supportive. Ridiculously so.
To the point where it is almost irresponsible. Now I’m doing fine and don’t need
support, but if I ever did, I think they would help me out.”
Moving on from The Delusionists while remaining friends with the cast
and crew, Michael began to concentrate on his own comedy. He took another stab
at Raw, making it to the state final. “That was when I realised stand-up was
the thing I’m not terrible at,” he says. Still, his career trajectory was
somewhat bound to the sketch comedy troupe.
“All the shows we’d done down in Melbourne, they were partially funded
by the University of Sydney Union,” Hingers explains. For the uninitiated, the
Union is the body that administers much of the cultural life of the student
body, and one way in which it does so is by funding cultural undertakings.
However, Michael says, after two years of financing a small army’s interstate
incursion, the Union woke up to itself.
“They were kind of like, ‘Hey, you’re going down to Melbourne with
thousands of our dollars and we’re not getting anything out of that’. So for
2009 when we wanted to do it, we said, ‘You know what, to prove to you that
we’re doing something for culture on campus, we’ll start a comedy room on
campus that’ll do a show every week and we’ll mix between doing stand-up and
sketch and improv and story telling and musical comedy and plays and everything
and we’ll literally do a different show every week’.”
And so, out of the need to fund a final Festival foray in 2009, Project
52 was born. “We didn’t realise that what would become Project 52 would be the
greatest thing we’ve ever done and one of the coolest things that we’ve ever
been involved in,” Michael says, quickly pointing out that he’s “not the only
person” behind it. “I do a lot of the boring admin work for it, but it
certainly is a five-way group who run it.” The team includes Ben Jenkins, Carlo
Ritchie, Steen Raskopolous and Tom Walker. “Carlo and Tom are the people who
probably make me laugh more than anyone else in the world. I understand their
minds, and they still make me laugh all the time.”
It wasn’t an instant success, of course: some nights were packed
out. Other nights the comics outnumbered the audience. “There were some grim
times for us,” Hing acknowledges. “There’d be eleven people in the room,
and ten comics, and it’s going to go forever and it’s gonna be terrible and
I’ve got to tell some first year I’m really sorry, he can’t go on because there
are too many comics. But by the end of the first year, a small crowd for us
became 60 people.”
It certainly helped Michael develop as a comic, having to front up each
week, often in front of largely the same group of punters. He had to have new
material each time.
“It’s perfect when you’re young and you have a million ideas and you
have to write them all down,” Michael reckons. “I say like I’m some old guy now…”
I am some old guy now, and I can say the one night I got to perform
there, it was chockers. Admittedly, everyone apart from Hing – and me – was
some undergraduate doing material about Star Wars, Lord of the Rings and Harry
Potter, but it was a great night. And then I couldn’t get another go, because
word got out that it was the coolest room in Sydney and visiting international
acts were climbing over each other to get some stage time. Although Michael has
a far more touching story about Project 52’s growth in prominence.
In Memoriam, Jordan McClellan
Some time into the room’s second year, on the night of Sydney
University’s Theathresports Grand Final, a student called Jordan McClellan,
who “did a lot of improv stuff” with Hing and co, was tragically hit and killed by a taxi on his way home.
“It was really serious and really, really sad,” Michael recalls. “That affected
a lot of people and changed the way we did comedy. It really changed a lot of
One change was the renaming of the Theatsports Trophy. Steen
Raskopoulos and Tom Walker, who run the Theatresports program, renamed it The
Jordan McClellan Cup. But one of the “more offbeat things” to come out of it,
according to Michael, occurred as a result of them googling Jordan McClellan’s
name, to see how his death had been reported.
“We found this blog by someone called Sidney Critic who had been writing
about us for 18 months. We had no idea. He reviewed all our shows. So there was
this great memory of our friend who had passed away. That was really cool.”
Sidney Critic went on to name Project 52 the best comedy room in Sydney.
“I think other comics must have read that blog or something, because when we
started up in the second year, the people who wanted to get on weren’t just
open mikers and friends, it was proper comedian people.”
But that’s just the stand-up night; there is far more to Project 52 than
stand-up, which takes place on night a month. Steen Raskopoulos runs ‘The Impro
Den’. “It is – and I say this
having watched a lot of impro – by several standard deviations the best
improvised comedy you’ll see in Australia” – Michael insists.
‘Story Club’ is the story-telling night run by Ben Jenkins. “It’s part
of a new trend that’s been happening for a couple of years,” Michael says,
acknowledging story-telling rooms run by the likes of Kathryn Bendall (‘Tell Me A Story’) and
Michael Brown (‘Campfire Collective’). The point of difference for Story Club, Hingers explains, is
that people literally type a story and read it out of a giant book. “So there’s
no performance element to it the way you would tell a stand-up story. It’s more
of a writing and performing process, and they’re on a theme. It’s as really
good way to break in, when people don’t feel confident in performing, they can
And, finally, there is a sketch night called Make Way For Ducklings.
“It’s probably the funnest thing to ever do,” Michael insists.
In addition, Project 52 runs other themed
nights where the comedy is about a specific – often nerdy – thing. “Like our Game of Thrones night. Recently we did a
‘would you rather’ discussion. It’s license to do whatever we want. We’re not
locked into doing stand-up every week, like other rooms are.”
Makes me want to run away and join Michael
Hing’s circus. They have the most supportive milieu. “It’s not even just
students,” Michael insists. “It’s a specific kind of student.” The room has a
capacity of 130-odd. “We don’t like turning people away,” he says, “but there
are nights when we say, ‘There are people who shouldn’t be here, could they
leave…’.” Such people, according to Michael, aren’t going to “get into the
spirit” of the room’s comedy. He reckons they’re people “who want rape jokes
and ‘edgy’ comedy” (said the man who suggested dinner-and-interview might serve
as the prelude to unwanted foreplay. And afterplay).
2012 was the first year Michael Hing took his own hour-long show, An Open Letter to Rich White People
Concerning Their Role in the Downfall of Civilisation, to the Melbourne
International Comedy Festival “because that’s how the Australian comedy
industry works,” he acknowledges. Whereas in America you develop five minutes
of material, building it to 10 and then 15 and then twenty, on your way to an
hour, in Australia you “do comedy for a bit and then you do an hour-long show
at a Festival”. Though not necessarily ‘ready’ to take on the solo show, there
were indications that it was time – “a bunch of weird things” starting to
happen from the beginning of the year.
“I broke up with a girl who
I had been dating for years. I started working at a university as an adult
instead of as a student lay-about.” It was, he says, part of that coupla-year
cycle where h panics a little and thinks he has to decide whether he should persevere
with comedy or pack it all in and try to get a real job.
“I gave myself to the end of the year to decide,” he explains: “If I’m
just doing one or two spots a week and only a couple of gigs a month are paid, then
I’m going to focus on my career and do stand-up as a hobby. But if by the end
of the year I’m doing stuff that I really like and I’m really proud of what I’m
doing, then comedy is the thing I’m going to do.”
Focus on your ‘career’, Hingers? What, pray,
tell, was the ‘career’ if it wasn’t comedy, midway through 2011?
“At the time I was booking bands and the
Roundhouse, at the University of New South Wales,” Michael says. “I was like,
‘I can be a booker. And do comedy as a hobby’.” Of course, Michael gave that
all away, and his non-comedy employment nowadays consists of teaching digital
marketing and media at said university part time, “even thought I don’t have a
degree and I’m not qualified at all”.
Aiding the transition from part time amateur
comic to full time professional were the collaborative shows Michael had been
creating for earlier Sydney Comedy Festivals with Patrick Magee. A founding
member and stalwart of Comicide, the
other sketch comedy troupe operating around the same time as The Delusionists, Magee was in many ways
Hing’s perfect foil.
Their first show, 2010’s Illustrious Physicians of Romance, set out “to teach you everything
you need to know about love in an hour”. A sample routine involved grabbing a
punter from the audience and calling up their ex-girlfriend in order to try and
win them back over the phone. The show arose out of Hing and Magee’s respective
obsessions with women at the time. (What? And your long term relationship
faltered, Michael? How? Why?)
Their second show, the following year’s Orientalism was a sustained “rallying
cry against ethnic comedy” – one of Hing’s bugbears. Although Michael is still adamantly
opposed to ethnic comedy, he can at least acknowledge that “60 minutes is a
long time to be preachy about something”.
These shows weren’t necessarily good prep for
Hing’s one-man show. “They were mostly improvised and they were more sketch
than stand-up,” Michael explains. “They changed every night because Pat Magee has
an inability to maintain focus on stuff, which is what makes him super funny a
lot of the time. It also makes him highly emotionally volatile a lot of the
time, as well. He is seriously one of the smartest, funniest, cleverest people
I’ve ever met and worked with. If he ever bothered to commit to doing comedy
forever, he’d be great.”
Given that Patrick’s currently in the UK
pursuing comedy, chances are he’s well on his way to achieving that greatness.
As for Michael, the process made him realise he had a number of stories he
wanted to tell, and so it was time to do his own show. Its first incarnation was I’m Only Doing This Because They Won’t Let Me Be A Rapper at the 2011 Sydney Fringe Festival.
Half a year on from the Melbourne Comedy Festival, Michael’s attitude to
his season is telling.
“I came back from Melbourne with a good amount of money from doing
comedy,” he says, “which felt really, really cool.”
So comedy as career instead of hobby, then. No need to get qualified to
teach digital media and marketing after all.
“At the same time, there was stuff in my comedy that I didn’t feel very
proud of. I was doing some jokes that I thought were lazy, and some easy gags.
I felt a little bit guilty because I was using easy tricks – in about three or
four parts of my show – to get laughs.”
Oh, Hingers, ever the purist. He sometimes got laughs not by telling a
joke, but by using “just the rhythm of a joke, and the word ‘f*ck’.” What comic
has never been guilty of that? Your job is to make them laugh. Did you make
them laugh? Good. No problem. Unless you’re competing in a [Raw] comedy
competition, in which case, be concerned that the jokes are below your judges’
standards, rather than your audiences’. But even then, it doesn’t matter: the
point of doing comedy is to make the audience laugh, not to win competitions.
And the point of doing comedy competitions is to make the audience laugh, not
to win competitions.
Still, Michael makes a convincing argument:
“For the first three weeks, where I’m selling out some nights and
getting great reviews, it feels great.”
Why wouldn’t it? That’s every Melbourne Comedy Festival debutante – and
veteran – comic’s dream.
Uh-oh. Chortle is the über-comedy critic, the comedy critic sine qua
non. And Hing confirms that Chortle essentially said, “‘Hey, dickhead, you’re a mad, lazy writer who should be
trying harder, cos you’re cheap’.” Hing’s paraphrasing, of course; Chortle is far more articulate than
“I read that and I think, ‘He sees through everything, and it’s
true’. And the reality is, any other achievement that I feel proud of, is
meaningless. So I come back from Melbourne with money that I’m not
uncomfortable to have, but think I should put it towards something cool.”
Good man, Hingers. I think I speak for almost everyone when I say I’m
never uncomfortable to have money, and I always think I should put it towards
something cool. But I’m never as cool as Michael, who has put his money to the best
possible use, producing fringe festival shows of several of his comedy peers.
But that’s the obvious, immediate penance – putting potentially
‘ill-gotten gains’ toward a greater good. Michael’s taking other initiatives as
“I don’t have a lot of strengths, but one thing I’m quite good at is
learning. I flatter myself to think I can learn quite well, so if someone I
respect, whose reviews I’ve read, says to me ‘this is a two-star show and you
need to work harder and not be lazy’, then I can click onto that being a real
And so for Hingers, it’s once more into the fray: among the multitude of
shows he’s involved with is the new hour of material, in development for the
2013 festival season.
All roads lead to Hingers
While ‘coasting comedian’s guilt’ goes some way to explaining why so
many roads lead to Hing – the ‘Sydney Hing Festival’ part of it, anyway – there
are still all the other undertakings he is and has been involved in.
For example, a couple of years ago one of the new hot young things of
comedy was a svelte Sydney chanteuse called Gen Fricker whose sinister
world view with conveyed via punk ballads sugar coated with a thin veneer of faux-naivete bookended with some of the most hilarious off-the-cuff banter you’ll ever have served up at you.
Another one of the many to arise out of the Sydney Uni milieu, Gen is clearly a
world-class talent in her formative years. Suddenly, Hingers was hosting the
breakfast shift with her on Radio FBi.
A couple of years previous, Jack Druce was the youngest Raw finalist
ever (dubbed ‘an embryo’ at the time by one slightly older – and possibly slightly jealous
comic). Now Hing is co-hosting one of the better comedian-fronted podcasts with
Cale Bain hosts an brilliant impro night on Tuesdays at the Roxbury
Hotel (the second best in the known universe, according to Hingers – but he has
a vested interest in the Impro Den, so it’s hard to call) and Hing is one of
A bunch of brash alternate comics have a weekly package of performance
anarchy called Phuklub – of which I’ve written at length. Guess who’s now a
regular there, too…
And virtually any cool newbie you see who is or was at one time a
student at Sydney University, rest assured, is a friend, was groomed by,
appeared in a revue with, or let’s face it, will one day regret never having embarked
upon a meaningful physical relationship with, Michael Hing.
There’s a reason why this is.
“If I want this to be my job,” Hing explains, “if I talk to my friends,
most of whom are comics, and they’re doing a cool thing, I want to be a part of
it. And I feel like I have a disparate amount of experience now that I can go
into any place and try and fit in with what they’re doing.”
And, more than wanting the constant challenge of trying to apply his worldview
and talents to each new comedic undertaking, there’s a far more fundamental and
“There’s no shortage of talented people in any comedy scene,” Hing says.
“All that separates me or anyone from anyone else is the amount of work that you
do. If I think I’m good and I’m gonna coast this out, there are any number of
more naturally talented people who can take my place.”
One of the forces guiding Michael, particularly in the way he helps
administer comedy to university campuses and beyond, taking newbies under his
wing as he investigates new avenues for himself and others, is to provide the
means of access that didn’t exist when he first hit the scene.
“When I was at uni and had a dream of doing stand-up, there was no way
that I knew how to go to the Mic in Hand on a Thursday night. If you’re a
student studying a science degree or whatever, you go, ‘oh, there are people at
my uni putting a show on every Wednesday night, and they’ve done shows in
Melbourne, and they’re doing gigs at the Comedy Store. If I hang around with
them maybe I can learn how to do this – how to get it done’. That’s a really
attractive thing to be able to offer young people. When I was in high school
and at university I didn’t know how to be a comedian. Now, if I can offer anyone
anything, it’s this: here is a night where you can get on and you can do
comedy, and if you like comedy, I can tell you who to talk to and who can help
you out. And now we get the people who run the Comedy Store coming by and
checking out our night. That’s really cool for me.”
Thus, Michael is producing 20-odd shows at this year’s Sydney Fringe
Festival because when he was at Uni he didn’t know how to do comedy, and now he
has a bit of an idea. Not just of how to approach it, but of the different
approaches you might choose to take. Indeed, Michael has several approaches of
his own that he’s putting into practice all at once – in a handful of shows.
“Ben and I have been writing together for six years now, so we have a
catalogue of 100 sketches. We’re gonna pick out 10 or 15 of them to call them a
And of course, there’s the solo show, Occupy White People, that’ll be the prototype of his
2013 festival show.
But the most political and personal one, by far, is A Series of Young Asian Comedians not doing Asian Jokes, which
features Jen Wong, Ronny Chieng (joint Best Newcomer at the Melbourne
International Comedy Festival this year), Alex Lee, Jonathan Lee and Aaron Chen along with Hingers. “We
all do 10 minutes each and no one mention race, no one mentions racism, no one
mentions immigration, no one mentions being Asian, no one mentions stereotypes…
nothing. It’s us doing jokes that have nothing to do with that.”
The stereotyped kid
Michael and I don’t quite agree on the ‘wog comedy’ issue. Being
slightly older, and remembering what an amazing phenomenon Wogs Out Of Work was, I appreciate that self-deprecating humour was
the first opportunity certain audiences – consisting of huge cross-sections of
Australian society – got to see characters they could identify with on stage.
Performers were talking to them about their particular experiences in ways that
Ango Austalian comics and other stage and screen characters couldn’t.
Furthermore, these non-Anglo Australian stereotypes weren’t merely the ‘low’
characters, the comic relief, the butt of the Anglo Australians’ jokes. They
played the gamut of characters, and where they were the butt of the jokes, they
were the butt of their own jokes: the humour was self-deprecating, so it wasn’t
hurtful. Decades on, yes, that kind of humour is clearly less sophisticated;
society has changed enough (we hope) that it’s unnecessary. We see non-Anglo
Australians in the media representing more than the mere fact that they happen
to be people of foreign extraction. But in less enlightened times, self-deprecating
wog comedy was empowering.
“Yeah,” Hing replies, “but if the only way ethnic people can identify
with a character on television in the 1980s is through Con the Fruiterer,
that’s a damning indictment of television. It’s so rare, for example, to see a
Chinese person on TV where their defining role isn’t merely being Chinese. It’s
only now that you’re seeing hot Asian girls who are actually just ‘hot girls’,
rather than ‘hot Asian girls’.”
Somewhere, a Gen X woman – who probably reviews for The Age – is reading this and being annoyed at the objectification
of ‘hot’ and ‘girls’ when Hing clearly meant ‘women’; is it a bigger faux pas
when special attention is being paid to the avoidance of racial
generalisations? His point stands, however: if the person of a certain race
appears in popular culture merely as a stereotypical representation of that
race, there is a tendency for kids engaging with that culture to define
themselves and others primarily by ethnicity. “And it is divisive,” Hing insists,
“because, growing up, you are no longer the kid who happens to be Chinese or
the kid who happens to be Italian. You are ‘the Chinese kid’. Or ‘the Italian
kid’. And for some people that’s a really positive point of difference, but
there is no reason that they have to be that. Why not ‘you are the smart kid’
or ‘you are the fast kid’?”
So then what happens, it seems, is ‘the Ethnic kid’ (feel free to insert
the ethnicity you are most familiar with) who is funny and talented enough to
take to the stage, becomes ‘the Ethnic comic’ and has to roll out all of the
Ethnic clichés. If you’ve heard them all before, they stop being funny. For
Hing, they can be downright offensive. Like when a comedian makes fun of his or
her parents’ accents.
“A lot of Asian comedians do it: ‘My dad gets his Ls and his Rs mixed
up. What’s up with that?’” Hing says, outlining why this line of humour fails.
“You’re making fun of your dad’s accent. Number one: it’s very
well-trodden ground. You should be above that. If you’re holding a microphone,
you should hold yourself to be above that. Number two: if your parents have a
thick accent, chances are, they’re first generation emigrants. They probably
made huge sacrifices to bring you here and bring you up in a country with
opportunities where they can give you the best life possible. And you’re gonna
get on stage and make fun of them because they don’t speak English properly and
they have a funny accent? Go f*ck yourself. That f*cken annoys me. It enrages
The rage has its origins during Hing’s own childhood.
“Growing up in the mid-90s in Australia, watching a comedian on
television who looks like me,” he recalls, “I get excited, and then he says,
‘spring rolls… boogadah boogadah boogadah, what’s up with that…?” (The
‘boogadah boogadah boogadah’ is shorthand not unlike the Yiddish ‘yaddah yaddah
yaddah’, serving here to dismiss facile observations.) “Everyone goes, ‘That’s
amazing’ and they grow up thinking that’s okay to do, and you think that’s what
you have to do as a Chinese guy doing comedy. I just want to prove to people
that you don’t have to do that.”
What it feels like, I offer, is that Michael saw Hung Le on television,
and irrespective of how funny or clever Hung’s observations were, later on at
school narrow minded people repeated them, seeking to tease Hing. “Definitely,”
he admits. “But this is what I’m talking about. People take away the message
they want. It’s your job as a comedian to ensure that nobody leaves your show
going, ‘I’m going to find the guy who that applies to and make him feel like
sh*t’. You start a ripple effect where you’ve hurt some guy you don’t even
I’m not sold on the argument. Part of me feels that Hing’s ‘bunging it
on’ more than he actually feels it, in order to create the context for his
particular brand of intellectually outraged stand-up to work. And mostly, it
seems, it’s for the edification of less privileged ‘outsiders’. I mean, the
open letter to rich white people has a different meaning coming from a rich
non-white person, than it does from a poor non-white person. There’s nothing
wrong with taking that position, it just takes more effort and more experience
to make it feel less ‘bunged on’ and more relevant and sincere.
“I don’t feel disenfranchised,” Hing confirms. “I’m the Asian son of two
doctors who grew up fine. I was bullied a little bit at school, but there are
people who cop it much worse. But racial injustice angers me. And when I talk
about racist stuff in my comedy, it’s because I genuinely think there is something
funny to be said about it.”
But, Michael continues, the reason he finds “the vast majority of ethnic
comedy” loathsome is because “when you’re in a position of power – and I think
we can agree that having the microphone is being in that position of power”
your target – the butt of the joke, and the level at which you pitch your jokes
– has to be above your own level. This because, if you don’t, “if you’ve got a
microphone and you’re screaming about someone who has less power than you and
you’re aiming your anger and ridicule downwards, you’re just bullying someone.
Whereas if you’re aiming it upwards –taking on the prime minister or people who
are muscular and rascist or people who are smart and rich – they can defend
themselves; they have a right of reply in a cultural capital.”
I agree with this philosophy. And I can see why it is such an
interesting comedic path that Michael Hing treads. Coming from that privileged
background, there aren’t many targets above him. And the bullying can’t have
been so full-on from fellow privileged lads.
“I went to the local public primary school, but because it was in a reasonable
area –Illawong, in the Shire – it wasn’t a rough school,” Michael confirms. “I
was ‘the Chinese kid’. It totally influences my position. I hated being defined
as ‘the Chinese kid’ because everyone else is pointing and laughing.” Perhaps,
Michael considers, that’s where the comedy-as-defence-mechanism began because,
he says, “I grabbed the mic at talent quests and stuff.”
Talking out of school
After primary school, Hingers wasn’t so keen to attend the local
selective public high school. “I didn’t know what I wanted to do, so my parents
sent me to Trinity Grammar. I got involved in some dicey stuff. I joined a
Dicey gang stuff at Trinity…? Apple in the chapel, I enquire, getting my
posh private school scandals muddled.
“No, Trinity was ‘The Anaconda’,” Hingers reminds me, adding, “and no, a
This was the key story of Hing’s Open
Letter…and since he’s performed
it on stage, he doesn’t mind relating it to me now. “Through a series of
events,” says Michael, he “ended up being friends with this guy whose older
brother was in a gang at Cabramatta.” Lonely and in need of friends – often a
characteristic looming early in a comedian’s life – Hingers ended up “doing
jobs” for these people that included picking up packages from the guy’s place
and delivering them to addresses in China Town.
“It’s hundreds of dollars every time that I do it, and I pretend I don’t
know what’s going on, but I know: it’s drugs and weapons and stolen goods in my
Dressing like the über-nerd he is – “top button done up, tie done up,
socks pulled up even though I’m wearing long pants” – Michael is the perfect
“I do this for between 12 and 18 months. Eventually my friend gets moved
to Hong Kong, to live with a disciplinarian uncle. I eventually quit, and
because I’m a nerd and they know I’m a coward, they don’t hurt me. They let me
This is around 2000 when the ‘anaconda’ sex scandal took place, and
suddenly the school’s systematically searching every student’s locker. “A lot
of people I’m associated with are called to the principal’s office,” Hing
reports. “Eventually, I’m called. I’m sitting there, crying and stuff. They
tell me I’m not going to go to that school next year, and I think, ‘I’m
f*cked!’ but it turns out that the reason I’m at the principal’s office isn’t
because of that stuff; it’s because about 6 months earlier, being a super nerd,
I made a website about my friend David calling him ‘gay’ because I was 14 and
that’s what I found funny. They were like, ‘that’s unacceptible’ and I was
like, ‘you’re right, it is, I need to leave the school; goodbye’.”
Hing ended up at Carringbah High, the selective high school he had been
trying to avoid, where he met all his nerdy friends, was mocked, got angry, got
to uni got into comedy and eventually ended up opposite me in a pizza place in
Manly Vale, where I ate most of his vegie selection after finishing my own
marinara, and after I swallow his last piece, I have to know: how the hell were
the doctors Mama and Papa Hing about all this?
“Again, just stupidly supportive of everything,”
Michael says. “That also contextualises what I’m doing now: sure, I’m not
finishing my degree or getting a job, but I’m also not in a gang, which is a
thing I came very close to doing for the rest of my life. It makes the choice
of being a stand-up comic much, much easier.”