What began as a love letter to his “Paw Paw” (grandmother) has become a touching cross-cultural Christmas show that blends humour, memory and grief, told in English and dotted with Chinese.

Written by debut playwright Trent Foo, the comedic magical-realist story is reminiscent of Charles Dickens’ A Christmas Carol, using flashbacks to deliver a moral lesson.

Foo stars as Heepa, a teenager who travels to the underworld, seeking assistance from his ancestors to bring his estranged Paw Paw to Christmas. Using a range of Chinese objects, Heepa takes us on an emotional journey of familial love, with memories ranging from joy to sadness. Amid the humour, there are moments of regret, but an undercurrent of love remains present.

“My goal, from the very first moment, had always been to have audiences leave the theatre feeling inspired to call and chat with their loved ones. The play is about love, community, connection and coming together,” shares Foo.

Dressed casually in shorts, a T-shirt and bright yellow socks, Foo arrives on stage in a rush of exuberant teenage energy. The production borders on a one-man show, with Foo charming and captivating in his whimsical storytelling.

Tiang Lim is Paw Paw. She has few lines but still manages to convey much through a look or a touch. Her gentle movements and quiet vocals feel distinctly grandmotherly, making the relationship between her and Heepa feel genuine and true.

Jolin Jiang is Lady Dai, an enigmatic figure from the underworld, wearing a white silk gown and a golden mesh eye covering held together by chopsticks, she sets the tone and atmosphere of the production. The work is further enriched by her live musical performance. The multi-instrumentalist, composer, and vocalist plays a range of instruments, from the ancient guzhung to the rainstick and a small pair of Chinese cymbals, evoking ghostly sounds.

The stage is filled with covered furniture and boxes; items for Heepa to rummage through locating the flashback curios. Amy Lane and Georgia Grubelich make inventive use of each bauble he collects, illuminating them up to form a makeshift ladder Christmas tree. Sound design by Cameron Smith — thunder, lighting and the sounds of nature — blends seamlessly with Jiang’s compositions and Cat Mai’s moody lighting to create an ethereal, spiritual space.

Director Monica Sayer notes the story is grounded in rich culture and tradition: “May you find traces of your own story reflected back to you in unexpected and meaningful ways…” Anyone familiar with Chinese traditions or ways of life will resonate with this story; however, it will also tug on the heartstrings of those with loving grandparents, who might smile recalling their frugal behaviour and attitudes – how they would try to sneak wisdom into everyday actions and express love through food.

Heepa describes himself as a “halfie,” having both Chinese and Australian parents; however, we discover he has pushed back at his Chinese side, refusing to learn the language because he didn’t want to have a foreign accent. Foo weaves questions of identity into the narrative through Heepa’s resistance to language and heritage. He explains, “It’s introspective and a deep dive into identity and culture, but ultimately a thank you to the people who raised us.”

There are a number of touching elements to this story of family, values and honouring loved ones. Audiences of A Chinese Christmas may shed a few tears but will leave the theatre feeling uplifted.

3.5 stars. 

A Chinese Christmas is playing at KXT on Broadway until 20 December 2025.

70 minutes (no interval) Made in associate with bAKEHOUSE Theatre. For tickets visit: KXT on Broadway