Writer Jun Noh on his theatre show Things Between Heaven and Earth

Exploring issues of sexual and East Asian identity and the convergence between them, a novelist trapped in a basement after a memorial reflects on how he got there in psychological drama Things Between Heaven and Earth. After runs at the Camden and Edinburgh Fringes, it’s now at Lambeth Fringe and part of Camden Horror Festival. We spoke to writer and performer Jun Noh

What inspired you to write Things Between Heaven and Earth?

The play is an amalgamation of various writing ideas I had been accumulating in my ‘sock drawer’—figuratively—over the years. The main inspiration, however, came when I learned about Steven Daldry’s marriage to a woman and having a child, despite being openly gay. He later reconfirmed his sexuality and explained the practical aspects of his marriage, which made me reflect on the nature of identity in society. It pushed me to think beyond traditional labels, and that sense of fluidity feels especially relevant to today’s zeitgeist.

How would you describe the main character, Eric, and the challenges he faces?

Eric was once a critically acclaimed writer, but after the failure of his recent novel, he finds himself at his most vulnerable when he accepts an invitation from his childhood friend, May. He’s full of contradictions, and as a public figure, every move he makes is closely scrutinised. His outspoken views on the politics of the industry have earned him many enemies who are eager to see him fail. In many ways, he’s imploding as a creative. His greatest challenge is to rediscover the inspiration that will help him reclaim the success and position he believes is rightfully his. And, of course, he must find a way to escape his physical entrapment—this isn’t a spoiler, as the play opens with this situation and flashes back to the past.

These pressures are deeply intertwined and difficult to separate. Eric faces societal pressure to be 'palatable'—to fit into a specific mould as both a writer and activist. The irony is that society often expects conformity from those whose very role is to challenge norms. As an openly gay man, he also feels the pressure to be a role model or the face of his demographic. Additionally, he has long carried the weight of expectations from the Christian Asian immigrant community he grew up in. These combined pressures shape him into a complex, and at times dysfunctional, individual—much like many of us as adults. While the play is a character study of specific individuals, these societal backdrops are essential to understanding the psychology that drives them.

You mentioned blending different genres like psychological drama, satire, and horror—how do these elements enhance the narrative?

While many works blend genres and defy categorization, I believe this often happens organically after the work is complete, and the same was true here. The earlier version leaned more toward psychological drama with a strict fourth wall. However, incorporating Eric’s first-person perspective introduced elements of satire, which broadened the play’s emotional and thematic scope. The psychological horror elements were always present, but they’ve now become more visually prominent in the storytelling.

What message or feeling do you hope the audience will take away from Things Between Heaven and Earth?

We live in a world where people tend to react quickly to media that tells them what to think, often making snap judgments. But in reality, life is full of grey areas, and the truth usually lies somewhere between two extremes, as the title of this play suggests. I hope the audience will suspend their preconceived notions and engage with the complex relationships between these characters.

How has Things Between Heaven and Earth evolved since its debut at the Camden Fringe and during its Edinburgh Fringe performances?

I've gained deeper insights into the story, not only as an actor but also as a writer. Due to the fast-and-furious nature of Fringe rehearsals, we didn’t have the luxury of fully exploring the material over several weeks. In many ways, the previews at Camden and the three-week run in Edinburgh became an exploration of what worked. As the play has been rewritten into a full-length piece and shortened for the upcoming festivals in London, there are now significant differences and new storylines in the script. Additionally, with our director recently moving to Japan, I’ve taken on the role of director. I'm excited to bring my vision to life, as I've realized I’m most comfortable as both writer and director of this work.

Things Between Heaven and Earth is at The Bread & Roses Theatre as part of Lambeth Fringe 6 & 7 October http://www.lambethfringe.com/, and at Etcetera Theatre as part of Camden Horror Festival www.etceteratheatrecamden.com 

The Lambeth Fringe 2024 marks the evolution of the acclaimed Clapham Fringe, now in its 9th year, and has expanded across the borough to include 23 venues including founding venue Bread and Roses Theatre with a programme of nearly 150 shows over five weeks.