From Ghibli’s Screen to London’s Stage, a Beloved Classic Finds New Life, and a Young Actress Finds Her Voice
The Gillian Lynne Theatre, a grand dame in the heart of London’s West End, has been transformed. Not into a grand opera house, nor a modern drama den, but into a lush, fantastical forest. My Neighbour Totoro, the Studio Ghibli classic, is making its third London appearance, this time for a lengthy run, and with it, a new Mei. Victoria Chen finds herself stepping into the shoes of a character adored by millions.
The journey from Hayao Miyazaki’s hand-drawn world to a live stage has been anything but simple. Puppets the size of small cars, houses that dance, and a Catbus that flies – these are the challenges faced by the creative team. But for Chen, the challenge is more personal. How does one embody a four-year-old spirit, a creature of pure wonder?
“Honestly, it’s a dream come true,” Chen says, her voice warm and genuine. “I never thought I’d be able to play this role because I couldn’t imagine myself doing it.”
The film, a staple of many childhoods, including Chen’s, holds a special place in the hearts of Asian audiences. “Many of us believe in the importance of community, and we have a strong connection to the environment we live in,” she explains. “Some of our cultural beliefs include seeing spirits in everything—rocks, trees, homes. We also understand what it means to hold on to family, whether they are physically with us or not.”
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Yet, the show’s appeal transcends cultural boundaries. Its themes of family, nature, and the magic of childhood speak to something universal. And for Chen, it’s about more than just playing a part. “Maybe, in 20 years, someone will say, ‘When I was four, I watched this show and saw myself on stage—or my little sister—and it made me want to be a storyteller too.’ That would be really special.”
The audition process, shrouded in a bit of mystery, was a journey in itself. Chen prefers to keep the details close, respecting the magic of the production. “I really hope the show has a long future,” she states, “and with long-running productions, new actors will eventually take on the role of Mei, and what happens in the audition room is essential to how the character is brought to life. If I were to share too much, I feel like it might take away a little bit of the magic.”
The call came on a Friday, during a tube ride, just as Chen was heading to another show. “I got a call from my agent and thought, ‘Oh my God, what could this be about? It’s Friday—have they already made a decision?’ I answered the call, and my agent started making small talk. Meanwhile, I was getting more and more nervous, thinking, ‘Why isn’t she getting to the point?'”
The news was delivered just as the train went underground, cutting the line. “That was it. I just thought, ‘Oh, okay.’ But I had to focus on my other show, so I put the excitement aside for the time being.”
Her family’s reaction was typically pragmatic, bordering on the absurd. “I told my family, and their first reaction was, ‘Are you going to be a tree?’ I was like, ‘What?!'” she laughs. “My mum then pulled out an old baby picture of me and asked, ‘Is that why you’ve been putting on weight—to look like a chubby four-year-old?’ I thought, ‘Wow, this is such an Asian parent response!'”
Chen’s path to the stage was not a straight line. “What Asian parent tells their kid, ‘You should be an actor?'” she quips. “They usually say, ‘Be a doctor, be a lawyer.’ And for a while, I was going to be a lawyer. But then I realised I was sick of it.”
Her journey included political science, journalism, and psychology, but the common thread was always service. “From a young age, my teachers and family instilled in me the idea that you should serve your community, contribute to society, and make a difference. And I realised that storytelling was my way of doing that.”
Read more: Hayao Miyazaki Turns 84: From ‘Totoro’ to ‘Spirited Away’ – A Career in Animation
The Gillian Lynne Theatre, with its historical importance, and the energy that flows through its walls, feels like the right place for this production. The space is a place where many stories have been told, and it now prepares to hold a new one.
“This venue will bring in new audiences who might not normally go to the theatre,” Chen notes, indicating the broad appeal of the show. “There’s something about live performance that no other medium can replicate. For two hours, a group of strangers share an experience together—it connects us.” She continues, “You buy a ticket, you go in, and for that time, you are part of a shared moment, a collective breath. You see people react, laugh, and sometimes cry. You are witness to the creation of a moment that can never be replicated exactly. Even if you see the show again, it will be different. The actors, the audience, the atmosphere, all of it will change. This is what makes theatre so special, it is a living, breathing thing.”
The act of going to the theatre is an act of joining a community, even if just for a few hours. “It is a shared space, where people can come together, and experience something. I think this is why theatre will always be important.”
Chen views her fellow cast members as a community. “How can we create space for each other? How can we support one another?” She builds a supportive environment, understanding the demands of a long run. “We spend so much time together,” she says, “that it’s essential to foster a sense of mutual respect.” She believes a positive atmosphere on stage benefits the audience. “If we’re genuinely enjoying ourselves,” she says, “that energy will radiate outwards.”
As My Neighbour Totoro prepares to enchant a new audience, Victoria Chen stands ready to step into the forest, to bring Mei to life, and to share a bit of magic with the world.
