Small Town Boys
2.4.2026 │ 7:30pm – 10pm (with post-performance talk)
3 - 4.4.2026 │ 3pm – 5:30pm (with post-performance talk)
Laundry Steps, Tai Kwun
HK$140
Remarks
- Duration: approximately 2 hours without interval, with a 30-minute post-performance talk
- In Cantonese without surtitle
- Latecomers will only be admitted until a suitable break arranged by venue staff
- Recommended for ages 6 and above
- Programmes are subject to change without prior notice. Tai Kwun reserves the right to make the final decision regarding the arrangements.
Text: Jason Lam
There was only one thought on my mind while preparing for the staged reading of Small Town Boys: I wanted the audience to remember that this is a script for the big screen.
I have taken part in many play readings over the years. What continues to draw me to this form is its purity – the way it strips away dazzling stage effects and spectacles, compelling the audience to focus on the text and the rhythm of the language, and allowing every single word of the script to slowly reach their heart. This is especially meaningful to me as a writer who is obsessed over word choice and has a particular fondness for dialogue rooted in everyday life.
Yet, Small Town Boys, after all, is a screenplay. This does not mean that it lacks the texture of naturalistic dialogue or the sense of linguistic rhythm. Rather, what it contains in greater measure are descriptions of scenes and spaces, the juxtaposition of symbolic images, and even the selection of background music. In a play reading, these elements might simply be conveyed by assigning an actor to read out the stage directions. But since they are precisely what constitute the work’s sense of being “cinematic”, I began to ask myself what could be rendered in a staged reading so as to constantly remind the audience that this is a screenplay awaiting production. The question led us to the idea of using a “Silent Disco” format. We sought to immerse the audience in the environments described in the screenplay through sound, provoking their imagination of spaces and images. We also incorporated visual design into the reading. The visuals were deliberately kept abstract and restrained so as not to divert the attention from the actors’ performances. At the very least, however, they leave behind a clear impression in the audience’s mind: this is a cinematic experience, one that is ultimately meant to be viewed with the eyes.
Small Town Boys remains in the development stage, with no filming plans as yet. Still, for a screenplay to have been publicly presented twice before production (the first being a reading performance at Golden Scene Cinema hosted by The Hong Kong Emerging Content Creators Association) is already an extraordinary stroke of luck. It is undoubtedly a difficult time for the industry, but I continue to hold onto the sincere hope that one day, “Small Town Boys” will reach where it truly belongs – the cinema screen.
Small Town Boys: From Gay Lovers to a Changing City
Text: Jan Wong
Small Town Boys, the feature screenplay by Jason Lam, was shortlisted for the Movie Makers Screenwriters Scheme presented by the Hong Kong Emerging Content Creators Association. The published screenplay won first place in the Readers’ Choice Award and was also presented as a reading performance at Golden Scene Cinema in 2025. Lam is drawn to romance films that reflect urban transformations through the dynamics of their characters. While writing the script, he drew inspiration from Stanley Kwan’s Lan Yu as well as Peter Chan’s Comrades: Almost a Love Story. “As someone born in the 1990s, I wanted to write a Hong Kong story that captures the experiences of these past few years.”
Through a pair of gay lovers, Small Town Boys explores the notion of home. One of the men studied abroad as a child before returning in the 1990s, and makes Hong Kong his home. “Recent university graduates may find few opportunities in Hong Kong and see the world at large as home instead.” Lam shares the same sentiment: “Hong Kong is a tiny city in the vast world.”
Small Town Boys features 6 (Mau Hou-cheong) from RubberBand and Ray So who recently ventured into film from theatre. While attending a performance at Hong Kong’s Eaton Hotel this past January, Lam bumped into Mau in the restroom. Reminiscent of a scene in Small Town Boys, the encounter gave Lam a sense of déjà vu, prompting him to invite Mau to join the cast.
To convey to the audience that this is a screenplay, the work is presented in the form of a Silent Disco: “Sound is a key element in this play reading performance. Silent Disco offers an immersive experience, prompting the audience to imagine the visuals–and thus the awareness that this is a screenplay meant to be filmed.” The clinking of glasses and background music serve to enhance the cinematic atmosphere. “It is also like audio description in a film, with sound stimulating the audience’s visual imagination,” said the director.
6 @RubberBand as Man Ka Leung
Ray So as Cheung Yu Hong
Sheena Chan as Chau Pui Yin, Cousin
Chan Kiu* as Lau Shau Yan
Fung Ming Ng as Cheung’s Mother, Betty, Aunt, Man’s Sister
Law Chung Kin^ as Cheung’s Father, Taxi Driver, Old Colleague, Campus Security, Bar Manager (2nd generation)
Onyi Tam as Cheung’s Younger Brother, Hotel Staff, Estate Agent, Lecturer in English Studies, Police Officer, Airport Staff
Winfred Lam as Singaporean Colleague, Young Interviewer, University Student, Classmate, Student Union Member, Bar Manager (1st & 3rd generation), Non-local interviewer
Ice Chung as Script Description
*With the kind permission of the Hong Kong Repertory
*With the kind permission of Jumbokids Theatre
Playwright:
- Jason Lam
Director:
- Chan Pui Lam
Performer:
- 6 @RubberBand
- Ray So
- Sheena Chan
- Chan Kiu*
- Law Chung Kin^
- Fung Ming Ng
- Onyi Tam
- Winfred Lam
- Ice Chung
Producer:
- Loui Yuen
Assistant Producer:
- Law Esther Hess
Production Manager & Stage Manager:
- Heiness Yeung
*With the kind permission of the Hong Kong Repertory
^With the kind permission of Jumbokids Theatre
Jason Lam
Playwright
Jason obtained his Bachelor of Arts in Japanese and Korean Studies from the University of Hong Kong, and subsequently graduated with a Master of Fine Arts in Drama (Playwriting) with Distinction from the Hong Kong Academy for Performing Arts.
Jason’s play 31 Years was shortlisted in Hong Kong Repertory’s “Project Kite”. Men in the Bathhouse was presented at “Playwright Studio” at the Hong Kong Arts Centre and the “Reader’s Theatre” at the Hong Kong Repertory, and was later previewed as a musical adaptation by Actors’ Family. He was also commissioned by Beyond Dance Theater under their “Contemporary Dance Theatre Development Scheme”, where his play Black Spots was produced as both a dramatic work and a dance performance. His other stage works include Moral Education by Cinematic Theatre.
Beyond theatre, Jason has also achieved recognition in screenwriting. His feature screenplay Small Town Boys was selected for the “Movie Maker Screenwriter Scheme” at the Hong Kong Emerging Content Creators Association and went on to win the Readers’ Choice Award. His short film screenplay The 30-Year-Old Bottom won the “Short Film Screenplay Competition” at the Hong Kong Lesbian & Gay Film Festival, while his short film Shape of Us won Best Screenplay at NextShot Short Film Competition 2025.
Professionally, Jason works in the advertising industry. He is also the co-founder of Chilli Means Company.
Chan Pui Lam
Director
Pui Lam graduated in 2023 from the Hong Kong Academy for Performing Arts, School of Drama, with a Bachelor of Arts (First Class Honors) degree, majoring in Directing.
Recently, she was nominated for Best Director at the 16th The Hong Kong Theatre Libre for In Between by Hong Kong Repertory Theatre. During her studies, She has received the Outstanding Director Award for her graduation piece The Massage King. She was awarded the Tang Shiu-Wing Scholarship (Outstanding Director) and the HKSAR Government Scholarship Fund (Reaching Out Award), and participated in an exchange program at the Shanghai Theatre Academy. She is currently a freelance theatre practitioner, and the co-founder of Chilli Means Company.
Her recent stage works include In Between by Hong Kong Repertory Theatre, International Arts Carnival 2025: The Secret Agent Spin-off: The Hidden Treasure by Musical Trio. Play-reading works include “Project Kite” public reading - Every Side of Us, A Family Story, Love Out Of Reach by the Hong Kong Repertory, Look Back by Theatre Formula.
6 @RubberBand
Performer, as Man Ka Leung
A lead vocalist, a director, a lyricist, and a traveller.
In 2004, 6 founded RubberBand with his bandmates and became the band’s lead vocalist. The band continues to explore diverse musical styles with widely acclaimed works that resonate with the city deeply. Beyond band projects, 6 also writes lyrics for other artists, using words to capture the spirit and stories of the city.
A film enthusiast, 6 directs all of the band’s music videos and has also created music videos and short films for other artists, showcasing his talent for blending music and visuals.
A keen traveller, 6 has visited many countries, drawing creative inspiration from his experiences and seeking new possibilities in life.
Ray So
Performer, as Cheung Yu Hong
Ray So graduated from The Hong Kong Academy for Performing Arts in 2019 with First Class Honours, majoring in Acting. Following graduation, he joined the Chung Ying Theatre Company as a full-time actor (2019–2025). His performances with the company include She, The Boxer, Little Shop of Horrors, and the revivals of The Miracles of the Namiya General Store*. He also appeared in the musicals The Woman in Kenzo and Don Quixote, among others. He also served as both playwright and actor in About the Time When I Faced a Crisis in My Artistic Career and Accidentally Became the Hero Who Saved the 45th Anniversary Performance.
In 2025, he participated in the musical Agent Q: The Secret Treasure and Wind Mill Grass Theatre’s production Fragments of Solitude. His screen appearances include the film The Moon Thieves, in which he played Tung Tung, and the television drama Where Is My Fifteen Minutes, where he portrayed Jacky.
Sheena Chan
Performer, as Chau Pui Yin, Cousin
Sheena Chan graduated with First Class Honours from the Bachelor of Fine Arts in Acting for Global Screen at Hong Kong Baptist University in 2024. She has also obtained Grade 8 Singing certification with Distinction from the Royal Academy of Music. As a member of the Hong Kong Dance Company's Children’s and Youth Troupes, she performed in several major dance productions, including starring roles in Tsuen Wan Legend (2011) and its rerun (2014). Recent stage performances include The Enchanted Bookshop Musical (2022) by Hong Kong 3 Arts Musical Institute, Feng Zi Kai - A Chinese Father (2023) by Prospects Theatre, and The Impossible Trial (2025) by WestK X HKREP. Recently she is active in various music videos, TV dramas and films, with starring roles in the films Blossoms Under Somewhere (2024), Valley of the Shadow of Death (2025), and ViuTV drama series Cicada Cycle (2024). She is currently working as a freelance actress.
Chan Kiu
Performer, as Lau Shau Yan
Chan Kiu joined the HKRep in 2012. He was nominated Best Actor (Tragedy/Drama) for his performance in The Abandoned Harbour, Best Supporting Actor (Comedy/Farce) for his performance in Confrontations at the Hong Kong Drama Awards. In 2025, he received Outstanding Lead Actor at the 16th Hong Kong Theatre Libre for his performance as Kuroki Eisaku in In Between. His major performances included The Diary of Song, Invisible Men (2020), A Winter Funeral, That’s Not True and Landing to Blossom.
Aside from actor, Chan also served as Director in Stay with the Flow, Assistant Director in The Tamed and the Tempted, Moscow Express, Ladies, Bon Voyage – a Cabaret and The Sin Family, action choreographer in In Times of Turmoil and Being Poon Chan Leung, as well as video photographer. His recent productions included The Story of K City, The Top Restaurant, Scapin in Jiānghú, Chap. 2024, After Life, The Doctor, Moscow Express and Liu Rushi, my Dear.
Before joining the HKRep, Chan was a full-time professional photographer for numerous theatre companies and HKAPA. He was a member of the Drama Gallery.
Chan graduated with honours from the School of Drama, The Hong Kong Academy for Performing Arts, majoring in acting.
*With the kind permission of the Hong Kong Repertory
Law Chung Kin
Performer, as Cheung’s Father, Taxi Driver, Old Colleague, Campus Security, Bar Manager (2nd generation)
Law Chung Kin serves as the Artistic Director of Jumbokids Theatre. A versatile theatre practitioner, his work spans acting, directing, and playwriting. He is also a dedicated educator, teaching drama in primary and secondary schools and serving as a part-time lecturer at The Hong Kong Academy for Performing Arts.
^With the kind permission of Jumbokids Theatre
Fung Ming Ng
Performer, as Cheung’s Mother, Betty, Aunt, Man’s Sister
Fung Ming Ng graduated with a Bachelor of Fine Arts (Honours) degree from The Hong Kong Academy for Performing Arts, majoring in acting. Fung Ming was nominated for Best Actress at the Hong Kong Drama Awards for Shall We Die and for Best Supporting Actress for Wit and Mother Courage in China. She was awarded Best Supporting Actress (Tragedy/Drama) for Unforgettable Era in 2018.
Recent productions: The Impossible Trial.
Onyi Tam
Performer, as Cheung’s Younger Brother, Hotel Staff, Estate Agent, Lecturer in English Studies, Police Officer, Airport Staff
In 2025, she graduated from the School of Drama in the Hong Kong Academy for Performing Arts, majoring in Acting. She was awarded the Society of APA Merit Awards for Local Students.
Her recent productions include DNA, Unthinkable Festival 2025: Strange Woman, and Art X Sociology Y.L.S.L. Self-rescuing Amusement Package.
Winfred Lam
Performer, as Singaporean Colleague, Young Interviewer, University Student, Classmate, Student Union Member, Bar Manager (1st & 3rd generation), Non-local interviewer
Winfred Lam is now a year 3 student studying at the School of Drama, Hong Kong Academy for Performing Arts, majoring in acting for drama. He finished his marketing bachelor degree and graduated at Newcastle University in 2021. His recent work includes HKAPA Cats, Chung Ying Theater Company Home Coming. He also worked in the music video My Dearest.
Ice Chung
Performer, as Script Description
Ice Chung is currently pursuing a Bachelor of Fine Arts (Honours) Degree at The Hong Kong Academy for Performing Arts, majoring in Acting.
During her studies, she was awarded the HSBC Hong Kong Scholarship. She also received the Leap Forward Actor Award for her outstanding performance in Diebe by Dea Loher by Dea Loher, and Special Project Recognition Award for her contribution to the devised theatre The Book of Laughter and Forgetting in Collaborative Project 3.
Recent performances include The Life of Man, Cyclops, Diebe by Dea Loher. Devising performances include The Book of Laughter and Forgetting, McDull and Duck.
Try again. Fail better.
7 - 9.4.2026 │ 7pm – 8pm
Site-wide
HK$140
Remarks
- Duration: approximately 1 hour without interval
- Audience is required to walk around various locations during the performance. Comfortable clothing is recommended and please assess your physical condition if it is suitable for participation
- In Cantonese without surtitle
- Latecomers will only be admitted until a suitable break arranged by venue staff
- Recommended for ages 6 and above
- Programmes are subject to change without prior notice. Tai Kwun reserves the right to make the final decision regarding the arrangements.
Text: Li Chi Tat
The creative genesis of Try again. Fail better. lies in the Tai Kwun building complex—not as a specific physical site, but as the pervasive "themes" lingering within the space. Inside the vast expanse of the prison, one feels the suffocation of being trapped, yet upon looking up, a patch of sky remains visible.
This work continues the exploration from my previous piece, The Unbearable Heaviness of Being. While the former focused on the female body as a site of power struggles—both personal and social—Try again. Fail better. expands this discourse. It examines how the tentacles of power firmly grip human beings, the human body, and other life forms connected to humanity, leaving no room for retreat until the very end.
The script is primarily structured as a series of first-person monologues. In this state, actors must be intensely focused, mobilizing their senses, emotions, and memories to construct a sense of "truth." This poses a significant challenge, requiring them to return to the most primitive and minimalist state of performance to forge a connection with the audience.
This play reading presents the text in its most authentic form using a relatively simple approach. Should there be an opportunity for a restaging in the future, this script could collaborate with designers from various media (such as multimedia, spatial/object design, physical movement, sound design, etc.). The distinct perspectives and entry points of different designers would undoubtedly create a fascinating chemical reaction.
Try again. Fail better.: Ethical Yardstick for Humans and Animals
Text: Jan Wong
Inspired by Tai Kwun’s ambiance, Li Chi-tat, writer-director of Try again. Fail better., initially planned to write a story about imprisonment and freedom before shifting focus to explore animal ethics.
“Humans have ethics. There is a line between what we should do and what we should not. But what if we apply the same standard to animals?” Li queries. People are not bothered when dogs serve as guide dogs, “but if someone were born and designated a ‘guide human’ since birth, people would find that inhumane.” Euthanasia is another matter of controversy. For animals with incurable diseases or incorrigible behavioural problems, euthanasia seems like a reasonable course of action; in the case of humans, however, the controversies never end.
“It is the discrepancy that piques my interest.” Li points out that the yardsticks applied to humans and animals are different. He had read an online article about dog trainers which suggests that if a dog knows it ranks higher than humans in the hierarchy, the dog is beyond help and has to be killed. “My understanding is that the trainer’s trust in the dog is broken, and no further connection can be established.”
Here in Try again. Fail better., philosophical questions are presented through drama. The ensemble work consists of three short pieces in which five actors are placed in such "bizarre situations” that, in Li’s words, “what’s considered wrong is done as boldly as one can imagine.” The director contends that play reading can rise up to challenges that are otherwise difficult for film: “There are subtle and abstract ways to let the audiences feel.” He is hoping to make use of Tai Kwun’s performing space, presenting to his audience a sense of alienation, isolation, and suppression.
Playwright / Director:
- Li Chi Tat
Performer:
- Tang Wing Hong
- Wu Lui Fung (WuFung)
- Chan Xi Yong
- Mung Kit
- Sunny Lai
Producer:
- Loui Yuen
Assistant Producer:
- Law Esther Hess
Production Manager & Stage Manager:
- Heiness Yeung
Li Chi Tat
Playwright / Director
Li Chi Tat graduated from the School of Journalism and Communication at the Chinese University of Hong Kong. He later pursued a Master of Fine Arts in Drama at the Hong Kong Academy for Performing Arts, majoring in playwriting.
In 2024, he won the First Prize in the Stage Play category of the Taipei Literature Award. His award-winning work The Unbearable Heaviness of Being was staged by multiple organizations in Taiwan and received wide acclaim. In 2023, he won Second Prize at the 6th The World Sinophone Drama Competition for Young Playwrights. He has also collaborated with major theatre companies, serving in various roles such as director and translator.
He is currently a freelance theatre practitioner.
Tang Wing Hong
Performer
Graduated from the Hong Kong Academy for Performing Arts, majoring in Acting. Currently a freelancer.
Recent works include The Dumb Waiter, The Monkey Paradox(puppet theatre performance), Three Sisters, GBS, Play-reading: The Master Builder, Messiah.
Wu Lui Fung (WuFung)
Performer
Graduated from the Hong Kong Academy for Performing Arts, majoring in Acting. Proficient in music, various instruments, and lyric writing. Nominated for the Outstanding Male Actor award at the 16th Hong Kong Theatre Libre Awards for the college production Diebe Received the Jacky Cheung Scholarship while in school.
Recent works: Jeep (live musician), Unfolded Horizon (physical actor).
Chan Xi Yong, Andrew
Performer
Graduated with a Bachelor of Fine Arts (Honours) in Acting from the School of Drama at the Hong Kong Academy for Performing Arts, and later earned a Master’s degree in Human Development and Psychology (Applied Anthropology track) from Tzu Chi University in Taiwan.
During studies, was twice awarded the Outstanding Performer Award by the Hong Kong Academy for Performing Arts and was nominated for Best Actor at the 10th The Hong Kong Theatre Libre for the in-house production Fire Face.
Participated in Musicals: Pippin, Rent, and Yat-Sun(Hong Kong Art Festival).
Participated in an exchange program at Odin Teatret in Denmark, studying theatre anthropology. After returning to Hong Kong, continued to engage with "Nobodies Theatre," collaborating with peers to explore physical training. Also undertook further studies in Stephen Wangh’s "The Acrobat of Heart" and Thomas Richard’s "Vocal Body Program" to delve into Jerzy Grotowski’s psychophysical techniques.
In recent years, worked as a dancer with the Taiwanese contemporary indigenous dance group Tai Body Theatre, persistently exploring "primordial arts" such as human ritual chants and songs.
IG: @xiyongchanactorhk
Co-founder of:
· Podcasting Theatre (@podcastingtheatre), promoting theatre digitalization initiatives;
· Hong Kong Intimacy Coordination Ally (@hkintimacycoordinationally), advocating for the application of intimacy coordination in Hong Kong’s performing arts industry.
Mung Kit, Mavis
Performer
Mung Kit graduated from The Hong Kong Academy for Performing Arts, School of Drama, with a Bachelor of Arts (Honours) degree, and also holds a Higher Diploma in Social Work from The Hong Kong Polytechnic University. She has participated in productions by On & On Theatre Workshop, Hong Kong Repertory Theatre, Pants Production, We Draman, Class 7A Drama Group, Drama Gallery, Alice Theatre Laboratory, Chung Ying Theatre Company, Perry Chiu Experimental Theatre and Trinity Theatre, among others. She has also served as actor, playwright, or director in school touring performances organized by the Hong Kong Repertory Theatre, Hong Kong Arts Festival, Drama Gallery, Class 7A Drama Group, and Chung Ying Theatre Company.
From 2016 to 2017, she worked full-time as a Actor-Teacher for Alice Theatre Laboratory’s “Jockey Club Hundred Schools Education Theatre Development Project.” From 2018 to 2021, she was the Education Development Manager at Drama Gallery. She is currently a freelance actress and drama tutor.
Sunny Lai
Performer
Sunny Lai, an actor graduated from The Hong Kong Academy for Performing Arts with Bachelor of Fine Arts (Honours) Degree in Drama (Major in Acting) in 2020. Awarded William Au Arts Education Scholarship and 2019-20 Outstanding Actor Award for his role in ‘Castle of Glass: Iridescent’ during his study in acting.
Recent productions (in chronological order): ‘Two Dimensions of Minoru Betsuyaki’ by She Lok In, ‘The Robbery Reunion’ by The Theatre Valley and Real Atypical Omnipotent, ’Post Office in Hell – The Origin’ by WestK and Reframe Theatre, 'Where You End and I Begin’ by Chan Yu Hang and The WASTED, ‘Something or Nothing’ by Theatre Formula, ‘Switch Off: a Musical Confession’ and ‘Bye Bye Your Tale’ by Windmill Grass Theatre, ‘On a New Day’ by On & On Theatre Workshop, ‘Wasted’ and ‘Fighting with Art’ by The 3 Cuttlefish Balls, ‘20 Days Before’ by Yuen Zen Theatre, ‘Rashomon’ by Chung Ying Theatre Company etc.
He is now an actor of Instagram channel @good_tempo a, the founder of Instagram channel @molai_ismom and theatre band ‘The 3 Cuttlefish Balls’.
The Midnight Gallery
19 – 21.4.2026 │ 8pm – 9pm
Prison Yard
HK$140
Remarks
- Duration: approximately 1 hour without interval
- Audience is required to walk around various locations during the performance. Comfortable clothing is recommended and please assess your physical condition if it is suitable for participation
- In Cantonese without surtitle
- Latecomers will only be admitted until a suitable break arranged by venue staff
- Recommended for ages 6 and above
- Programmes are subject to change without prior notice. Tai Kwun reserves the right to make the final decision regarding the arrangements.
Text: Alice Lee
This performed-reading work originates in the small fragments of my everyday life: a half-finished coffee, a street-corner sketch, a stranger’s gaze. Each piece is sparked by a single painting, transforming stillness into a living, breathing scene.
I believe there are invisible ties between people and that these everyday fragments are gateways into our inner worlds. Through the actors’ attentive observation and narration, the audience is invited to catch a glimpse of themselves in the lives of others, uncovering the quiet yet genuine bonds that link us.
Let individual stories weave together into an unseen yet tangible emotional thread, for people to rediscover their relationship with the world and the weight of a single moment.
The Midnight Gallery: The Weight of Relationships
Text: Jan Wong
Of all the venues at Tai Kwun, Alice Lee’s favourite is the Waiting Pavilions on the Prison Yard which served as the starting point for her collection of short stories. As the founder of the arts platform ZtoryTeller, many of her previous written works began with a painting. For this production, she used the concept of a midnight gallery as the thread to tie the stories together, with a man and a woman portraying different relationships across various stories. Director Tree Kwok also takes on the role of storyteller, not unlike a gallery’s host guiding the audience through the art space.
“As I have no theatre experience, I wanted to collaborate with a friend familiar with the stage. I had previously seen her self-written, directed and performed work, which I loved. That piece had no stage boundary, and the audience was very near. The Midnight Gallery follows that same spirit, so I invited her to join. She is very encouraging and has given me lots of advice and energy.”
The Midnight Gallery may not feature dramatic twists or bizarre plots. Instead, there are vignettes of life that we have all experienced. The relationships between the characters are nothing extraordinary—such as a waiter and a diner in a cha chaan teng, complete strangers in an MTR compartment, and a pair of lovers—prompting us to reflect on the weight of emotions. “I want to explore the weight of relationships, whether between strangers or loved ones.” Can the distance in a relationship be quantified? And in what units of measurement? “Is there a universal unit for relationships?” Perhaps a relationship weighs just 5g to one person, yet 10g to another? “I hope to interact with the audience, and they can also take part in determining the weight of that relationship.”
Through the performance, Lee hopes to help people sort through their emotions with the insight that the same event or relationship can be viewed from different perspectives. Its “weight” may even change according to “where you choose to ‘weigh’ it.”
- Snake's Two Faces
- What Is an Apple?
- Two-faced
- If The World Had No waiting
- You Are My Cigarette
- The Aunt Who Only Got Her Driver's License After Retiring
- They Are Not Together
- Story One
- Story Two
- Story Three
- Let it be
- Beyond the Window
- Perfect Days
- Chai Wan is their Final Destination
- The Television
- The Other Side of the Horse
Concept & Text:
- Alice Lee
Director & Performer:
- Tree Kwok
Scriptwriting and Adaptation:
- Cheung Tak Yin
Performer:
- Yo Wong
- Jim Hui
Lighting Designer:
- Octavian Chan
Producer:
- Loui Yuen
Assistant Producer:
- Law Esther Hess
Production Manager & Stage Manager:
- Heiness Yeung
Alice Lee
Concept & Text
Alice Lee, the founder of ZtoryTeller, a storytelling art platform. For many years, she has actively curated various online and offline storytelling art projects, connecting over 400 creators from around the world to promote the power of stories and illustrations to the public. In 2021, she was awarded the DFA Hong Kong Young Design Talent Award. As both a curator and writer, she has organized over 20 local and international exhibitions and co-authored works including "The Elephant on the Ball," "Two Grandfather and Grandson," and "ztorybook."
Tree Kwok
Director and Performer
Kwok Chui Yi (TREE) is a stage performer and theatre maker with extensive experience across various roles. She graduated from The Hong Kong Academy for Performing Arts, majoring in Acting.
In the summer of 2017, Tree furthered her training in France under Philippe Gaulier. She has also worked as a part-time lecturer at the School of Drama of the Hong Kong Academy for Performing Arts. Since 2023, she has been studying Somatic Movement Education through Body-Mind Centering®.
Currently, Tree is the resident artist of Radix Troupe, where she serves as a drama instructor in the Arts Training programme. She also collaborates with the company on various projects, including "Creative Rehab"—an initiative that uses somatic approaches in artistic and educational contexts to reexamine the mind-body relationship and to learn to listen to and respond to bodily sensations. In 2023, she created the solo piece My Therapist Said: based on this concept and launched a women-only performance workshops ACTRESS POWER, Power Regenerate, etc.
In 2025, Tree won Best Actress at the 16th Hong Kong Theatre Libre Awards for her solo Tree @Lone. She previously received the Outstanding Actress Award at the 6th Hong Kong Theatre Awards for At Last We Met in 2014 and was nominated for Best Supporting Actress (Drama/Tragedy) of the Hong Kong Drama Award by the Hong Kong Drama Association; as well as the nomination of the Best Playwright at the Hong Kong Theatre Libre Awards for Freedom of Expression.
IG: @koktree
Cheung Tak Yin
Scriptwriting and Adaptation
A multidisciplinary artist who navigates between media, always in search of new possibilities in performing arts.
ig: @cheungtakyin
Yo Wong
Performer
Yo Wong, founding member of Blue Hour Theatre.
Graduated from the Hong Kong Academy for Performing Arts in 2021, majoring in Acting. Received a nomination for Best Actress at the 15th Hong Kong Small Theatre Awards for the role in Blue Hour Theatre's first production, 《When We Get Close to Blue Hour》. During the time at the academy, she won Outstanding Actress awards for her performances in both 《Attempts on Her Life》 and 《The Two-Character Play》.
Recent theatre productions include: Blue Hour Theatre《There is No One Nearby to Share With》、《Love/Sick》；On & On Theatre Workshop《Jeeps》；Dramoxic《Once Upon a Big Business in Hollywood》；Three As One Theatre X Radix Troupe《Am I Cool?》；Actors’ Family《Back to the Stars》；Ng Cheuk Fai’s Reading Theatre《Wild War》；Blue Hour Theatre《Normal》、《Love/Sick》Reading Version、《When We Get Close to Blue Hour》；Artocrite Theatre X Fableist Ensemble 《Ward No.6》；Reframe Theatre《Goddess》、《Soul-End VR Video Conference》；The Education University of Hong Kong X Theatre Ronin 「Shine Together」
《A Kid’s Story》(rerun)；Hong Kong International Shakespeare Performance Exchange X Tang Shu-wing Theatre Studio《Romeo and Juliet》 , Théâtre de la feuille《#1314》 etc.
Script-reading performance include: Hong Kong Repertory Theatre, Reader’s Theatre《So Long…》、《Your Majesty》；On & On Theatre Workshop《Jeeps》；Artocrite Theatre《I Am Tree》、 《Sins》；Paul Poon's Script-reading tea party《The Isle》 、《Cricket in My Life》 etc.
Jim Hui
Performer
Jim Hui graduated from the School of Drama of the Hong Kong Academy for Performing Arts. He is now a playwright and actor.
His script, The Bucket, was awarded the Best Script at the 33rd Hong Kong Drama Awards and the Best Script at the 15th Hong Kong Theatre Libre. The script was also nominated for the Script/Playwright of the Year at the IATC (HK) Drama Critics Award 2024.
His script, Vacant Possession, was nominated for the Best Script at the 33rd Hong Kong Drama Awards, the Best Script at the 16th Hong Kong Theatre Libre, and the Script/Playwright of the Year at the IATC (HK) Drama Critics Award 2024.
As an Actor, Hui was awarded the Performer of the Year at the IATC (HK) Drama Critics Award 2018 for his performance in The Resistible Rise of Arturo Ui. He was nominated for the Outstanding Male Actor at the 9th Hong Kong Theatre Libre for On and On Theatre Workshop’s Kassandra.
Octavian Chan
Lighting Designer
Chan has been actively participated in various fields such as theatre directing and lighting design. He received the Award for Young Artist from Hong Kong Arts Development Council in 2009, and has been nominated for the Best Director for his work One Last Gift in 2023, and The Doctor in 2025. He has also been nominated for Best Lighting Design for his work The Best Day In My Life (2019) in Hong Kong Drama Awards. His early works, So Long, Farewell (2012) and Sand and Dust (2012) were nominated by The Hong Kong Theatre Libre for the Best Directing and Best Stage Effects.
Loui Yuen
Producer
Loui Yuen is a theatre creative producer, dramaturg, writer, and critic currently active in Hong Kong.
She graduated from the University of Manchester, majoring in Politics and Social Anthropology, and Royal Central School of Speech and Drama with an MA degree in Theatre Criticism and Dramaturgy.
She works as a producer in theatre programmes of local arts institutions and theatres, for example, WestK's The Impossible Trial - a musical (preview 2019 and re-run 2025), Hong Kong Arts Festival’s Contemporary Dance Series (2021), and Dionysus Contemporary Theatre’s To Kill or To be Killed(2025), Enigma Variations (2023) and Arts (2022).
Yuen was one of the associated artists of “Table To-gather”, a three-year artist platform curated by On and On theatre in 2023-2025, which presented her own lecture performance The Anonymous Many and Their Spotlighted One in April 2024.
Law Esther Hess
Assistant Producer
Law currently works in theatre project coordination and marketing.
Recent theatre productions include: WestK Solo Fest (2026), WestK x Théâtre de la Feuille: Book of Mountains and Seas – The Fates of Mountains and Rivers・Finale (2025)
Heiness Yeung
Production Manager
Founder of Hako.Eiga (Since 2022).
Video director, videographer and freelance stage worker.
In recent years, Yeung has participated in various stage productions, including: The Neighbor's Neighbor Dance Theatre (Blue Ka Wing), Where Our Rhythm Echoes (StepoutStudio), The Gallants (Class 7A Drama Group), Sweet Mandarin and Cotton Grass in the Wind (Pants Theatre Production), The Little Match Girl and Aladdin (The Theatre Wonderland) etc.
His recent videography works include: Waking Dreams - rerun (On & On Theatre Workshop), Seven Boxes Possessed of Kafka and The Visit (Alice Theatre Laboratory), as well as the ‘Cheers!’ Series: Almost in Europe - Clown Travel Vlog, Stardust Alley (Free to Play).
Other video works include music video for Luna Is A Bep’s Overthinking and music video for Key to Madness, etc.