The Nightingale - 33rd Hong Kong Arts Festival

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The Hong Kong Arts Festival is a prominent arts event in the cultural calendar of Hong Kong and the Asia Pacific region. Proudly stepping into its 33rd year, the Festival continues its vigorous pursuit of innovative development; the presentation of new works and the provision of quality arts.

In terms of the number and diversity of programmes, the 2005 Festival is one of the largest festivals to date, offering a wide variety of inspiring art, music and cultural programmes by prestigious international artists and leading local talents. I am sure that the Festival will further enhance Hong Kong’s status as an international cultural metropolis.

I extend our warmest welcome to all participating artists and wish all local and overseas members of the audience a most enjoyable time.

Message from the Chairman

I

warmly welcome you to the 33rd Arts Festival. As a premier event in the Hong Kong cultural calendar as well as the Asia Pacific region, the Festival presents the finest international and regional artists in an intense series of concerts and performances, as well as showcases the creativity of artistic talent in Hong Kong.

Appreciation and thanks are due to our main subventing organisations – the Hong Kong Government, through the Leisure and Cultural Services Department, and the Hong Kong Jockey Club Charities Trust. Their long and continued patronage are what make these cultural presentations possible.

In addition, we gratefully acknowledge the generous support of many corporate sponsors, arts institutions and individuals.

The Festival has always made our programmes accessible to students and young audiences through half-price student tickets and our Young Friends Scheme. These schemes are funded by the generous donations from numerous corporate and individual donors.

The 2005 Festival offers a rich and stimulating programme, with a variety of captivating performances and choices, presenting a diverse range of tastes with artistic excellence. We hope to offer something enjoyable and of interest to everyone.

Above all, I would like to thank you, our patrons, for your support and participation in the 2005 Festival.

The Hong Kong Arts Festival is made possible with the funding support of:

Message from the Executive Director

The starting point for the programming of this 2005 Festival was the idea of contrasting opposites – ‘sacred and profane’. Both of these elements are rich sources of creative impulses for the performing arts in most cultures and this thematic link is evident in much of our programming. We hope these connections and contrasts will make your Festival experience more engaging and memorable.

Alongside all of our international artists, we are proud to present many outstanding Hong Kong artists. For example, the Hong Kong Philharmonic Orchestra and the Hong Kong Repertory Theatre, as well as the fine young Hong Kong musicians, pianist Rachel Cheung and the Fresh Air Brass Quintet. Other important Hong Kong artists taking part include Cantonese opera stars Mui Suet-see and Lee Lung; Class 7A Drama Group; Chung Ying Theatre; Group 89268; the Material Girls; choreographer Daniel Yeung and the remarkable combined talents of Lee Chun-chow, Faye Leong, Gabriel Lee and Chong Mui-ngam in The French Kiss

In addition, our commitment to commissioning new work from Hong Kong and around the world continues, with pieces such as Amber, The Nightingale, All That Shanghai Jazz, Material Girls, i-City, The French Kiss, Come Out & Play and Little Prince Hamlet

The 2005 Festival will offer a total of 124 performances with 42 performing groups (32 overseas and 10 local), two exhibitions and our Festival Plus programme of talks, seminars and meet-the-artist sessions.

This is one of our largest Festivals to date, in terms of the number and the diversity of programmes. I am sure too, that it will be one of our most enjoyable and inspiring. We are delighted that you could join us.

Douglas Gautier

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Creative and Production Team

Director / Script Writer

David Tse Ka-shing (Yellow Earth Theatre)

Dramaturge

Ko Tin-lung (Chung Ying Theatre)

Composer / Sound Designer

Kung Chi-shing (Hong Kong)

Set and Costume Designer

Sigyn Stenqvist (Yellow Earth Theatre)

Choreographer

Yeung Wai-mei (Hong Kong)

Lighting Designer

Douglas Kuhrt (Yellow Earth Theatre)

Translator

Chow Wai-keung (Hong Kong)

Video Artist

John Wong (Hong Kong)

Movement Captain

Tom Wu (Yellow Earth Theatre)

Production / Company Stage Manager, UK

Ros Terry (Yellow Earth Theatre)

Technical Manager, HK

Eric Liu (Chung Ying Theatre)

Stage Manager

Katy Mo (Hong Kong Academy for Performing Arts)

Deputy Stage Manager

Kathy Chan (Hong Kong Academy for Performing Arts)

Video Documentation

Ellen Yuen and Rita Tse (Hong Kong)

Trainee Director

Kevin Han (Hong Kong)

Producers

Hong Kong Arts Festival

Peter Staves (Yellow Earth Theatre)

Ting Yu (Chung Ying Theatre)

Cast (in order of appearance)

Maid / Artificial Nightingale / Empress Kae Yukawa

Nightingale / Dancer / Servant

Fiona Liu

Emperor

Tom Wu

Chamberlain

Michael Ning

Fisherwoman / Lady / Servant

Nina Kwok

Fisherman / Death / Eunuch / Guard

Johnny Tan

2005 With the support of Hans Christian Andersen 2005

Cover and page 5 and 9 graphic design © Arnolfini Limited
HCA

Out in the forest, only the common people know the secrets of the nightingale’s magic. The bumbling Lord Chamberlain persuades a young girl, the poor kitchen maid, to bring the nightingale to the imperial court. Inside, the fabulously dressed courtiers laugh at the plain little bird, but they are quickly silenced when she starts to sing. Pure and beautifully simple, the nightingale wins the Emperor of China’s heart.

To keep her close, he imprisons the bird in a golden cage. But in the fickle court the nightingale is soon ousted by a new toy, a dazzling, jewelencrusted mechanical bird. The nightingale escapes back to the forest. But when Death arrives to snatch the Emperor’s life away, who will save his ailing heart?

The Nightingale is a wonderful, uplifting story about love, loyalty and freedom.

© Patrick Baldwin work-in-progress, in association with Half Moon YPT, London

A Chinese Story with Universal Themes

The Nightingale is one of Hans Christian Andersen’s most famous Asian stories, the other being The Emperor’s New Clothes. When the opportunity came to adapt one of them for the Hong Kong Arts Festival, I was drawn to The Nightingale because of its yin and yang themes: nature and artifice, love and control, freedom and captivity. This universal story was written in 1843, yet it feels increasingly relevant in our fragmented, materialistic world.

Initially, I thought that the nightingale could be portrayed as a barefoot contemporary dancer and the artificial nightingale as a ballerina wearing tight ballet shoes. Since these two characters are from China and Japan, I also wanted Beijing Opera and Kabuki to influence the choreography. During workshops in London, I discovered that high heels conveyed the same idea as ballet shoes — both transform the wearer into an artificially unstable woman in need of male support. The connection with female foot binding in ancient China became apparent. A quest to find a suitable physical theatre style directly affected the writing and allowed me to introduce an infamous chapter of Chinese history to the original story.

John Wong’s video highlights the different worlds of the two nightingales while Kung Chi-shing’s original music supports both the choreography by Yuen Wai-mei and the songs. During workshops in London, I was keen to explore shadow play lit by Douglas Kuhrt and puppetry to tell the story since the nightingale sings principally at night. The challenge for the set designer, Sigyn Stenqvist, was how to unify these disparate elements: video, high heels, shadow puppetry, the ancient court of the imperial palace, and the ultimate triumph of nature over artifice without using too much chinoiserie.

This is the first time the Yellow Earth Theatre (YET) has collaborated with the Hong Kong Arts Festival and the Chung Ying Theatre (with whom I worked as a freelance actor on Cross-mopolitan). A British Chinese bilingual adaptation of a Danish Asian story feels a suitably fitting project! Andersen wrote his story during the height of chinoiserie, when Europeans viewed China as the mysterious east full of magic and exotica. This pernicious attitude continues to this day — see where Spielberg set the beginning of Gremlins. Indeed, Nattergalen (The Nightingale) was written by Andersen in two days after an inspiring visit to the Chinese buildings in the Tivoli Gardens, Copenhagen.

My adaptation is one way of reclaiming that past so that a modern Asian sensibility can be brought to bear on the story, for example in the original the Emperor’s palace was made entirely of porcelain, whereas I have set it inside the walls of the Forbidden City. YET is committed to creating multicultural theatre that improves global understanding, and I hope this opportunity for the UK and Hong Kong artists to work together will encourage further dialogue and exchange.

During the writing of Nattergalen, Andersen was infatuated with the famous Swedish singer, Jenny Lind, who was probably the inspiration for the character of the nightingale. However, Andersen’s sexuality is a moot point amongst academics, and nightingales are celebrated for the rich love-song of the male heard chiefly at night. For this production, I wanted to have an equal mix of men and women in the cast, and as a family show, I wanted to avoid raising this controversial subject. However, future revivals may well have male actors playing the two nightingales.

According to the Hans Christian Andersen Foundation, his stories have become more widespread than any other author (only the Bible has been translated into more languages). He is read by Chinese students in school and, on the whole, is well-known and appreciated in China and Japan. Not bad for someone born 200 years ago in the small Danish town of Odense on the Island of Funen, the son of a shoemaker and a washerwoman. Andersen’s lyrical writing has earned him the title of ‘The Nightingale from Funen’, and I hope this production will sing to the spirits of all who are young at heart.

© Perry Fung , work-in-progress Youth Services Manager, Islington Chinese Association

Hans Christian Andersen (1805-1875)

In 2005 the world will celebrate the bicentenary of the birth of one of the most celebrated and favourite of children’s authors, Hans Christian Andersen.

Hans Christian Andersen was born in Odense, Denmark to a poor shoemaker’s family. As a child he received little education and suffered from hysterical attacks that were diagnosed as epilepsy. Encouraged by his parents he composed his own fairy tales and arranged puppet theatre shows. And so began his rich legacy .....

Most famous for his more than 150 fairy stories, which were not meant merely for children but for adults as well, Andersen frequently used a colloquial style that disguised the sophisticated moral teachings of his tales. Many of Andersen’s fairy stories depict characters who gain happiness in life after suffering and conflicts.

Of his most well-loved stories The Little Mermaid , The Ugly Duckling, The Nightingale and The Emperor’s New Clothes have charmed and delighted children and adults around the world.

Yellow Earth Theatre

Yellow Earth Theatre was founded by five East Asian performers in 1995. The company produces work that explores universal themes from an East Asian perspective, celebrating cultural diversity through an integration of theatre skills from the East and the West. The range of work covers both new writing and the reinterpretation of classics, with an emphasis on exploring the links between contemporary experience and multicultural heritage. The company also runs educational workshops, residencies and community projects as part of its outreach programme.

© Patrick Baldwin work-in-progress, in association with Half Moon YPT, London

Chung Ying Theatre

Established in 1979, Chung Ying Theatre was a subsidiary organisation under the British Council, and became an non-profit making independent organisation in 1982. The company is currently subsidied by the Hong Kong Arts Development Council. As a professional theatre organisation in Hong Kong, the artistic, administrative and technical capacity of Chung Ying is highly appreciated by both the artistic community and society in general.

Under the leadership of its artistic director, Ko Tin-lung, the company is active in promoting original plays as one of its missions. Chung Ying has been conducting ‘Play Ground’ and ‘Play-In-Progress’ projects to offer young playwrights opportunities and occasions for experimentation. Through producing different genres of work, Chung Ying is dedicated to promoting superior quality plays for their audiences. The company endeavours to explore new development resources in order to achieve greater autonomy in pursuing its artistic goals.

David Tse Ka-shing Director / Script Writer

David Tse Ka-shing read law before training as an actor, at Rose Bruford College, and a director, at the Leicester Haymarket Theatre. He studied Beijing Opera movement with Lee Siu-wah and during a production for M Butterfly with Jamie Guan. Inspired by East Asian physical theatre, Tse became Artistic Director of Yellow Earth Theatre (YET) in 1995. His freelance work includes acting for Chung Ying (Cross-mopolitan), teaching at the Hong Kong Academy for Performing Arts and presenting a groundbreaking series on BBC Radio 4 exploring British-born Chinese lives: Beyond the Takeaway

In 2004, Tse received the Windrush Award for Arts Achievement and was part of an historic arts group photo at the British Library, A Great Day in London. YET received the inaugural Pearl Award for Creative Endeavour in 2004.

For YET, Tse has staged The Nightingale, 58, Friends, Lear’s Daughters, Rashomon, Play to Win (winner of the Sainsbury’s Checkout Award with the Soho Theatre), New Territories (Time Out Critics’ Choice) and Tibetan Inroads. His freelance directing includes Animal Farm at Gadesjakket Theatre, Denmark; Kensuke’s Kingdom at Polka Theatre; House of Sleeping Beauties and Dance & the Railroad at the Leicester Haymarket; and a LAB workshop of Mulan for the National Youth Music Theatre. Tse also freelances as an actor, writer, teacher and presenter.

Ko Tin-lung Dramaturge

As Artistic Director of the Chung Ying Theatre Company since 1993, Ko Tin-lung has written and directed numerous productions, including Alive in the Mortuary (Premiere, Re-run, Third-run and the Japan performance), Hong Kong Mansion is Falling Down and Cross-mopolitan. He has also appeared in Action! Mr Lai! and What a Blissful Encounter, Mr Ts’ai.

Apart from working with Chung Ying, Ko has directed Inherit the Wind for the Hong Kong Federation of Drama Societies and Of Phoenix Lineage for the Chinese University of Hong Kong. He has also performed in the Hong Kong Federation of Drama Societies’ On Golden Pond and is one of the hosts for Headliner on Radio Television Hong Kong TV.

Ko Tin-lung has received a number of awards including the Stage Director of the Year Award from the Hong Kong Artists Guild in 1991 and the Ten Years Outstanding Achievement Award from the Hong Kong Federation of Drama Societies in 1994. He was also awarded the Best Director (Comedy/Farce) at the 4th Hong Kong Drama Awards for his work on The School and I.

Kung Chi-shing

Composer / Sound Designer

Born and raised in Hong Kong, Kung Chi-shing studied classical music and composition in the US. Returning to Hong Kong in the mid-1980s, Kung founded the seminal music and performance group BOX, with Peter Suart. As a composer and performer, Kung focuses on experimentation with different formats including pop, classical and improvisational music and theatre art.

Since 1996 he has created, composed and staged four full-length music theatre pieces: Destiny Travels Limited, The Floating Bridge, City Inside a Broken Sky and M Garden. He has composed music for original productions by the Toronto Dance Theatre, City Contemporary Dance Company, Hong Kong Ballet, Chung Ying Theatre Company, and Taipei Dance Forum, among others.

He has performed his music in productions locally and in Taiwan, Japan, Cuba, Tashkent, New York, London, Berlin and Venice. Kung’s recordings on CD include Destiny Travels Limited, Blue Silence/Fish Dreams, Box Go Home and The Box: Full Fathom Five.

5x6 Blue Silence / Fish Dreams

Sigyn Stenqvist

Out of Our Heads

Set and Costume Designer

Sigyn Stenqvist has worked with the Yellow Earth Theatre on 58 and Lear’s Daughters.

Her other recent design work includes To Damascus for the Kaos Theatre, Stockholm; Animal Farm for Gadesjakket, Denmark; Out of Our Heads for the Lyric Theatre and UK tour; Wired and Off Side with the Combination Dance Company; Love and Other Fairytales for the Scarlet Theatre, UK and international tour; 120 Kvaderat for Stockholm’s Impro Theatre and costumes for the London Alternative Hairshow at the Royal Albert Hall.

Stenqvist studied theatre design at Central St Martin's College and has a previous degree in Fine Art.

Yeung Wai-mei graduated from the School of Dance of the Hong Kong Academy for Performing Arts in 1990 and received her Masters degree at the University of Iowa, US.

She co-founded McMuiMui Dansemble with Abby Chan in 1996, and was then invited to participate in the 1998 Hong Kong All Independent Dance Series; the World Dance 2000, Tokyo; the 2000 Seoul International Dance Festival and the 2001 Crown Arts Festival in Taipei.

Yeung’s work includes Alone for a Second, a work commissioned by 2000 Hong Kong Arts Festival, and Upstream, Downstream which won the 2001 Hong Kong Dance Award. In 2001, she toured her solo work Tango With Water Sleeves with the Little Asia Dance Exchange Network to Melbourne, Taipei, Tokyo, Osaka and Seoul. Other invitations have included the 2002 and 2003 Asian Image Festival of Copenhagen, Denmark; and the Philippines 2003 International Woman Theatre Festival. At the 2004 Hong Kong New Vision Festival, she presented her solo piece Spiritual Girl, for which she has just received the 2005 Hong Kong Dance Alliance Award.

In 2003, she was included in the Hong Kong Dance Hall of Fame, as an outstanding local choreographer.

© Cheung Chi-wai

Douglas Kuhrt

Lighting Designer

Douglas Kuhrt has worked with the Yellow Earth Theatre on 58, Lear’s Daughters, Rashomon, The Butcher’s Skin and Whisper of a Leaf Falling.

His other recent designs for London theatres include Zipp! for the Duchess; Fascinating Aida for the Comedy; Home and Beauty for the Lyric; The Slow Drag for the Whitehall; and The Dance and The Railroad for the Leicester Haymarket.

Outside London he has designed Habitat at the Royal Exchange, Manchester; Party Piece and London Suite at the Theatre Royal, Windsor; Mother Goose at the Liverpool Everyman; Naked Justice at the West Yorkshire Playhouse and Funny About Love at the Guildford Playhouse, among others.

Kuhrt has toured extensively with Slava’s Snowshow

Chow Wai-keung

Translator

Chow Wai Keung started working in the professional theatre when he joined Chung Ying Theatre in 1983. In 1996 he obtained his BFA (Hons) in Directing from the Hong Kong Academy for Performing Arts.

Recently he has directed and translated The Odd Couple – Female Version for Novice Theatre; directed and performed in Be a Gentleman of No Desire for Pants Production; directed, translated and performed in Pippin for the HK Musical Theatre Federation; and appeared in various theatre productions.

He is the Chairman of Pants Production; a panel member for the Hong Kong Drama Awards and a part-time teacher at the Hong Kong Academy for Performing Arts.

Nina Kwok

Fisherwoman / Lady / Servant

Nina Kwok studied at Warwick University and then trained at Mountview Academy of Theatre Arts. Kwok’s theatre credits include Dionysus and Gypsy at the Warwick Art Centre; Human Lives and Other Tragedies at the Cochrane Theatre; First Love for Act Provocateur; Kelly’s Hell for Chameleon Arts; 58 for the Yellow Earth Theatre, as well as rehearsal reading of Fugitives and Chinese Party and The Same Old Passion at the Arcola Theatre. She has appeared in several films including Sibalinka and Dead Wood

Fiona Liu

Nightingale / Dancer / Servant

Fiona Liu graduated in musical theatre from the Guildford School of Acting, UK, in 2003. She obtained a BA (Hons) in Music (vocal) from the Chinese University of Hong Kong and an Advanced Diploma in Drama from the Hong Kong Academy for Performing Arts. Liu passed the Trinity College London LTCL in Voice Performance and the Associated Board of the Royal Schools of Music (Grade 8), Singing with Distinction, having studied with Chan Siu-kwan and Ceris Deverill. Her recent credits include Man of La Mancha, Jack the Ripper: The Musical and A Little Night Music.

Michael

Michael Ning graduated from the Hong Kong Academy for Performing Arts (APA), majoring in Acting, and joined the Chung Ying Theatre as a full-time actor in September 2003. He has performed in a number of productions including Chung Ying’s The Phoenix, Men & Dogs (Premiere and 2004 Version), Kung Fu Clan, Hong Kong Mansion is Falling Down (also as Assistant Director), When Snow Falls, Action! Mr Lai!, Eleven Cats and A Knack Click, and The Rival, Family and Mirandarina for the APA.

In Mirandarina Michael Ning was nominated for the Best Supporting Actor (Comedy/Farce) at the 2000 Hong Kong Drama Awards. As one of the founders of the Ji Jok Yip Theatre Company, he appeared in its debut production of The Diary of a Madman

2001

Johnny Tan Fisherman / Death / Eunuch / Guard

Johnny Tan graduated from the Hong Kong Academy for Performing Arts in 2001 having majored in Acting. Since then he has taken on a range of theatrical jobs including front stage, back stage, school touring, directing, but mostly acting. Recently he has completed two shows Betrayal and Antigone.

Tom Wu

Emperor

Tom Wu was born in the New Territories, Hong Kong, and grew up in London’s Soho. At the age of 10 he began practising martial arts and acrobatics. In 1988 he competed for Britain at China’s International Wu-shu (Martial Arts) Tournament and was awarded a Gold and two Bronze Medals.

Wu trained at the Guildhall School of Music and Drama for three years, and is a founder member of the Yellow Earth Theatre. He has performed in many theatre productions, television and feature films, most recently in Guy Ritchie’s forthcoming movie Revolver

Kae Yukawa

Maid / Artificial Nightingale / Empress

Kae Yukawa trained at BRIT School for Performing Arts. Her recent stage credits include Aladdin at King’s Theatre, Edinburgh with Qdos Productions; Old Bags at the Royal Court; Friends at the Soho Theatre with the Yellow Earth Theatre; Baa Moo Yellow Dog at the Half Moon and the Polka Theatres; Born of Glass at the Lyric Theatre, Belfast, and the Albany Theatre.

Yukawa’s recent screen credits include a Curry’s commercial; Travis Music Video (Beautiful Occupation); BBC Radio One Station Identification and a T-Mobile Commercial, as well as voice-over credits for Ant Energy for CNN and the Discovery Channel.

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Patron

The Honourable Tung Chee-hwa

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Mr Billy Li

Mr Wayne Leung

Mr Peter Thompson, SBS, OBE, LLD, JP

Dr Allan Zeman, GBS, JP

Mrs Mariana Cheng, BBS, JP

Mrs Clara Weatherall

Mr Ronald Arculli, GBS, JP

Ms Teresa Hong

Mr Timothy Cheung

Programme Committee

Mr Rafael Hui, GBS, JP

Prof Lo King-man, MBE, JP

Prof David Gwilt, MBE

Mr Nicholas James

Dr Joanna C Lee

Mr Nelson Leong

Mr Fredric Mao

Mr Tam Wing-pong, JP

Mrs Clara Weatherall

Ms Yao Jue

Mr Daniel Ng

Mr Joseph Seelig

Finance and Management Committee

Mr Billy Li

Mr Rafael Hui, GBS, JP

Mr Wayne Leung

Mr Nelson Leong

Development Committee

Mr Wayne Leung

Dr Allan Zeman, GBS, JP

Mrs Leong Yu-san

Mrs Clara Weatherall

Mrs Mariana Cheng, BBS, JP

Mrs Igna Dedeu

Ms Deborah Biber

Ms Alexandria J Albers

Ms Peggy Liu

Honorary Solicitor Stevenson, Wong & Co

Hong Kong Arts Festival Trust

Mr Angus H Forsyth

Mr Darwin Chen, SBS, ISO

Mrs Mona Leong, BBS, MBE, JP

Mr John C C Chan, GBS, JP

Mr Rafael Hui, GBS, JP

Mr Martin Barrow, GBS, CBE, JP

Mr Thomas Kwok, JP

Dr The Hon David K P Li, GBS, JP

Mrs Mona Leong, BBS, MBE, JP

PricewaterhouseCoopers

Staff

Douglas Gautier

Programme

Grace Lang

So Kwok-wan

Mio Margarit Chow

Linda Yip (on study leave)

Eddy Zee

Marketing

Katy Cheng

Alexia Chow

Chris Lam

Andy Yau

Development

Angela Hui

Eunice Chan

Accounts

June Yun

Bonia Wong

Administration

Carmen Chu

Virginia Li

Tony Cheng

Staff (contract)

Programme

Elvis King

Tiffany Yiu

Roy Leung

Andrew Chan

Eva Lau

Christina Lee

Billy Chan

Cat Cheng

Rufina Fung

Nancy Lam

Kathy Lee

Gary Leung

Joey Chan

Publication

Daisy Chu

Mya KirwanMya Kirwan

John Wong

Marketing

Agatha Ho

Michelle Yeung

Ada Mak

Alfee So

Wu Kai-yin

Pang Leo

Development

Michelle Ching

Administration

Dicky Chan

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