Interview: Jun Noh talks ‘Things Between Heaven and Earth’

Coming soon, first to the Lambeth Fringe, then to the Camden Horror Fringe, theatre and film-maker Jun Noh’s ‘Things Between Heaven and Earth’ promises a psychological deep-dive into the confluence of East Asian and sexual identities. The play, which found success at the Camden and Edinburgh Fringes, is also Kobold Blue Productions‘ first stage production.

A dark psychological thriller, the play explores the aftermath of a widow discovering her husband’s infidelity and murder through the ‘fiction’ of once-acclaimed author Eric. His public and private personas exposed, Eric is forced into a critical confluence of the pressures which made him.

TheQR was lucky enough to ask Jun Noh a few questions about the show before the curtain rises once more…

Was Horror always part of your vision for the play, or did it reveal itself in the writing?

It wasn’t intended at first. But I love horror, especially when it’s grounded in reality, like Pan’s Labyrinth or The Babadook. A lot of horror explores trauma, which can be therapeutic in a way. Eric and May are confronting their past, and that can be terrifying. That’s why horror elements naturally found their way into the play. However, what disturbs or frightens people is deeply personal—some might even find this play hilarious.

Who are your heroes or inspirations as creators?

Watching The Jungle at the Young Vic changed the course of my life and inspired me to apply to drama school, so I have immense admiration for all the creatives involved in that production. Even before that, I was drawn to Steven Daldry’s work across various mediums. I’m going a bit old school here, but Top Girls was the first major theatre production I saw, so Caryl Churchill and David Hare have been significant influences. I also admire directors like Benedict Andrews and Cate Mitchell, whom I consider fearless in many ways. I often reflect on the artistic visions of Bergman and Kubrick, though that doesn’t mean I necessarily follow their styles.

Did the story begin at the intersection of cultural and sexual identities, or take you there as it developed?

I think it’s almost impossible to write something completely detached from your own experiences. You can try, but unless you’re intentionally avoiding it for a specific effect, it’s natural for those elements to seep into the writing. Sometimes they play a major role in the story, and other times they serve as a backdrop, adding flavour. Ultimately, what really matters is the storytelling itself. I believe people are deeply interested in understanding others and want to empathize with their stories.

Initially, the writing focused on the fluidity of identity, especially the experiences of the Asian diaspora. The original version of the play centred more on that drama. Now, those elements serve the story of two co-dependent people.

“Eric and May are confronting their past, and that can be terrifying.”

Could you describe the process of bringing your central character to life, either as a writer or performer?

I don’t think much about the performance aspect while writing. If I consider the production side, it’s usually in terms of how I might direct a scene. But I’ve learned to wear different hats depending on the situation. Acting is an empathetic profession, and stepping into various roles certainly helps with writing. Artistic journeys are rarely separate—they feed into each other.

As a writer, I don’t focus too much on the structure of the play when starting a new story. Structure becomes more important during the redrafting process. Just as I enjoy being surprised on stage as a performer each night, I like to be surprised by how a character unfolds while writing.

This is your first theatre project as a company, would you do it again?

It is! The company is still fairly new, so far we have an audio drama, a theatre production, and a film under our belt. But I’ve already started jotting down bits and pieces for a new play inspired by The Maids, which I’d love to put on stage in the coming years. The best part of the whole process is the writing and what happens in the rehearsal room. It’s crucial to create a sacred, safe space when nurturing new characters with actors, away from the noise of the outside world.

What is it about the play which you think will first hook the audience?

I believe it’s crucial to open as many doors as possible for the audience, allowing them to imagine how the story will unfold. The meta elements—such as the interviews that offer detailed insights into the writing process, particularly since Eric is a writer in the story—will be especially engaging for anyone interested in creativity. Additionally, I was very keen on incorporating symbolic sound design, which adds another layer to the experience.

Featured Image: provided by show PR