To avoid undue disturbance to the performers and other members of the audience, please switch off your mobile phones and any other sound and light emitting devices before the performance. We also forbid eating and drinking, as well as unauthorized photography, audio or video recording in the auditorium.
此節目由香港特別行政區政府「藝術科技資助先導計劃」資助
This programme is funded under the Arts Technology Funding Pilot Scheme by the Government of the Hong Kong Special Administrative Region
投影器材贊助 Audio Visual Sponsor
媒體贊助 Media Sponsor
指定髮型用品 Official Hair Styling Products
指定卸粧用品 Official Make-up Remover Products
Poon Wai Sum
書頁之外 幻境之中 記《 K 城以外二三事》
其一：
約兩年前，導演 TravisPreston（崔維斯．普斯頓）通過電郵，建議與香港話劇 團合作，做一個「編作劇」。我說正好，為劇團搞點新意思。Travis 的前提是， 要有一個「故事」。一來二去，我回覆他，說，我倒找到一個「故事」，你先看看 是否合用，等等。不久，他回覆，說：（原文照錄) “This is a very beautiful story indeed! …. Who is the writer….(?)” 我有點不好意思，回應說，是我。
其二：
2001 年，有人邀我寫個戲，我二話不說，寫了《 K 城》。主其事者是演戲家族的 彭鎮南及姚潤敏，還有作曲林龍傑，也二話不說，就做了。有情有義，有意思。當 時我貪玩，又寫了一個「戲」以外的故事，叫《 K 城以外二三事》，事過境遷，兜 兜轉轉，其實，就是今個劇季，由 Travis 操刀，演化成「編作劇」的《 K 城故事》。
其三：
早於 2017 年，Travis 為香港話劇團執導《埋藏的秘密》，已展現出其在現實框架 下，以寫意手法詮釋文本的非凡功力。面對《 K 城故事》這個也許更為寫意的文 本，他和劇組以小說為藍本共同編作，將文字中的詩意與意象徹底釋放，不僅為 團員開拓了新的表演方式，也為觀眾築起一座感官幻境。
其四：
Travis 不懂中文。幸運地，我有一位老朋友，把《 K 城以外二三事》移譯成英文 版，得以讓 Travis 在無障礙地進入這個奇幻世界。她叫 Pipi（畢美娟）。同樣幸運 地，Travis 介紹了我一位新相識，看完《 K 城以外二三事》之後，她有感而發，寫 下了一首長長的英文詩，彷彿為人物的撲朔迷離提出了一個演員的參照。她叫 Judy（石茵）。Pipi 和 Judy 的英語文學造詣是一流的。這個年代，無論是英文或 中文，仍然認真地看待文學和戲劇，可謂異數。我們珍惜。
其五：
原著及概念 ORIGINAL & CONCEPT
香港話劇團藝術總監
Artistic Director of the Hong Kong Repertory Theatre
我們感謝香港特別行政區政府就「藝術科技資助先導計劃」的建議，批核了 《 K 城故事》的創作藍圖，將光影、媒體、聲音等元素，與演員的身體、文本的靈 魂深度融合，共同編織出這場視覺與心靈的交織之旅。這將會為香港話劇團， 以至香港劇場的探索，踏上重要的一步。
謝謝！
潘惠森
Beyond the Page, Inside the Illusion: Notes on Two, Three Things Outside K City
One
About two years ago, director Travis Preston communicated to me by email, suggesting a devising theatre collaboration with the Hong Kong Repertory Theatre. I welcomed that idea: we could create something new for the company. But Travis needs a “story”. After some more exchanges, I told him I’d found a “story” for him to check out, et cetera. Soon after, he responded, “This is a very beautiful story indeed! … Who is the writer … (?)”. I was a bit embarrassed to admit that I wrote it.
Two
In 2001, I was commissioned to write a show and immediately created K City. The instigators were Victor Pang and Mandy Yiu of the Actors’ Family, and the composer was Roger Lin, who also completed his task in no time. Friendship and loyalty mean a lot to me. I had so much fun in the process I wrote an additional novella, naming it Two, Three Things Outside K City . It’s been decades, and through many twists and turns, the story evolves into this season’s The Story of K City, a devising theatre helmed by Travis.
Three
As early as 2017, Travis was the director for the HKRep production of Buried Child, displaying his prowess in interpreting the script with a fresh take yet preserving its realistic framework. For The Story of K City – perhaps a far more abstract script – he worked with the team, using the novella as blueprint, completely setting free the poetry and imagery of the text. Not only does he develop a new approach with our company members, but he also conjures a panorama of sensory illusions for the audience.
Four
Travis doesn’t understand Chinese. Fortunately, I have a dear friend who translated my original novella, thus enabling Travis to fully immerse himself into this fantasy world. Her name is Pipi. Another piece of good fortune is that Travis introduced me to a new friend. After reading my novella, she was inspired to write a long poem in English, in turn providing references for the actors in embodying the complexities of these roles. Her name is Judy. Pipi and Judy are the best of the best when it comes to their command of English literature. In this age, whether in English or in Chinese, it is rare that people treat literature and drama with such seriousness of purpose. We cherish them.
Five
We are grateful to the HKSAR Government’s Arts Technology Funding Pilot Scheme for providing support to us based on our creative concept of The Story of K City. The projection, multimedia and sonic elements meld our actors’ physique as well as the spirit of the text, engendering this journey that weaves together both the visual and the soulful. This is a significant step for the HKRep as well as our local theatre scene in our continued exploration.
Thank you!
Poon Wai Sum
Preston
導演 DIRECTOR
國際知名戲劇與歌劇導演、美國加州藝術學院新演藝中心創始藝術總監、
Three Friends/One Spirit 行政總監、美國加州藝術學院戲劇學院前任院 長。他也是中國烏鎮戲劇節藝委會委員兼波蘭華沙戲劇院國際顧問委員會 委員。他最近執導由夏洛特．布雷作曲、科倫．麥肯納編劇的歌劇《美國母 親》剛在德國作世界首演，於歐洲廣獲好評，明年推出巡演計劃。
Travis Preston is an internationally celebrated director of theater and opera. He is the Founding Artistic Director of CalArts Center for New Performance, the Executive Director of Three Friends/One Spirit, and the former Dean of the CalArts School of Theater. He is also a member of the Artistic Committee of the Wuzhen Theatre Festival in China and serves on the international advisory board of TR Warszawa in Poland. He just completed the world premiere production of American Mother in Germany. This opera composed by Charlotte Bray with a libretto by Colum McCann has received critical acclaim throughout Europe and will be touring in the coming year.
In addition to his production of Buried Child at the Hong Kong Repertory Theatre, Travis Preston’s many productions include Macbeth with Stephen Dillane at the Almeida Theatre in London and the Sydney and Adelaide Festivals in Australia, Boris Godunov and Luigi Nono’s Al Gran Sole Carico D’Amore at the Hamburg State Opera, the world premiere of Fantômas: Revenge of the Image at the Wuzhen Theatre Festival, Prometheus Bound with Ron Cephas Jones at the Getty Villa, The Master Builder at the Almeida Theater (with Stephen Dillane and Gemma Arterton), the world premiere of Augustine Machine ou Encore une nuit d'insomnie by Marie Darrieussecq in Paris, as well as directing the opening gala performance of Daniel Libeskind’s Jewish Museum in Berlin. Travis Preston was awarded Chevalier of the Order of Arts and Letters by the French Minister of Culture for “contributions to the arts in France and throughout the world.”
我身為導演，一直致力於探索劇場創作的新手法與形式。當潘惠森將這個短篇小說交給我作 為是次演出的起點時，我頓時意識到能藉此創作一首具有深刻情感力量的視覺詩篇。文字、音 樂、形體、影像以至舞台美學，共同構建 K 城這片富幻想力的景觀，並由香港話劇團這班傑出 的演員呈現出來。他們的演繹開拓了劇場敘事的可能性，讓敘事手法變得更豐富、更具層次。
My work as a director is dedicated to the discovery of new methods and forms of theater creation. When Poon Wai Sum gave me his story to consider as the source of a performance, I knew immediately that it was an opportunity to create a visual poem of profound emotional impact. Text, music, movement, video and scenography contribute equally to the building of the imaginative landscape of K City –all mediated by the gifted actors of the Hong Kong Repertory Theatre. Together they open radically unique possibilities to expand and enrich the tools of theatrical storytelling.
There is no question that the city of Hong Kong has been an inspiration to me throughout the making of this work. I first came here to direct in the 90’s and have returned regularly since then. It is a city I love. Its enduring spirit and energy are present throughout the work. For me, K City is fundamentally about Hong Kong in all of its beauty and complexity.
This is a production that could not have been created elsewhere, and certainly not outside of the Hong Kong Repertory Theatre. I discovered the unique nature of this company when I directed Buried Child in 2017. My career takes me throughout the world and I work with theaters and opera houses in many countries. It is impossible to convey how rare and singular the Hong Kong Repertory Theatre is. Most “companies” are just a group of actors and designers who are put together for a single project – the artists all changing when the next project happens. The Hong Kong Repertory Theatre is an actual assembly of artists who have worked together over time. They know one another and are committed to their collective success. Indeed, they are a collective – and one profoundly dedicated to the creative landscape of Hong Kong.
Our production of The Story of K City emerged from workshops conducted more than a year. This can only happen when you have a consistent group of dedicated artists, a true company. I am grateful for the commitment of this extraordinary collective of artists and administrative leadership. This project could not have been created without them.
Travis Preston
進入 K 城：編作劇場與舞台科藝敘事的拓展實驗
K 城以外二三事》
文：郭永康（香港話劇團戲劇文學經理）
在《 K 城故事》中，導演 TravisPreston 帶領創 作團隊，嘗試以一種非傳統的劇場語言，轉化 藝術總監潘惠森筆下奇幻而詩意的短篇小說 《 K 城以外二三事》。這個製作不只是演繹文本， 更是對劇場敘事與觀演體驗的重構與延展；不只 是對改編，更是一場有關「編作劇場」（ Devising Theatre）、空間敘事以及感官體驗的拓展實驗。
並置策略：影像、聲音與形體共構的敘事 在《 K 城故事》中，觀眾將不再只觀看演員的演 繹，也將「聽見」敘事（經由聲景與語言碎片）、 「看見」敘事（由動態畫面構成），甚至「感受」敘 事（透過光影與空間氛圍）。導演所採取的策略， 是讓不同媒介並置於舞台之上，彼此平等交織， 而非從屬。
這種手法與 TravisPreston 早期作品如 Fantômas: Revenge of the Image、Augustine Machine ou Encore une nuit d’insomnie 的空間美學一脈 相承——觀眾不再只是觀看一個由演員表述的敘 事，而是要求觀眾在形體、影像與聲音的拉扯間 主動「編織」意義。
拓展敘事：感官場域與虛實交錯
透過多媒體與編作手法，導演試圖將劇場轉化為 一場虛實交錯的感官之旅。在這齣作品中，劇場 可以幻化成小說中「春威夷」以及「 K 城」的詩意 場景，虛構的城市空間經由實體舞台設計與虛擬 影像投射的融合而具象。觀眾置身其中，彷彿遊 走於真實與夢境兩個維度。
這種空間敘事，拓展了劇場的感官體驗，聲音、 光影、氣味，甚至氣流，都能成為劇場語言的一 部分，全面調動觀眾的身體感知。「 K 城」因此 不僅是小說中的一隅，更成為觀眾觀演經驗中的 「場所」。
小說《 K 城以外二三事》中充滿超現實的意象：海 底列車、從雞蛋泡沫中游出的魚、石蘑菇等。當 這些文字意象轉化為各種感官元素在劇場中呈現 時，觀眾不再只是透過角色對白「想像」這些意 象，而是能直接體驗它們的存在。
城故事》並不只是一次文字轉化為舞台的練 習，更是一場重塑劇場語言的實驗。文字能引發 無限的感知與想像，而劇場正是將這些抽象的可 能性實現的場域。劇團亦為《 K 城以外二三事》 製作了一部有聲繪本，作為另一種對春威夷與 K 城世界的延伸想像。繪本的插圖與動畫全由 AI 生成，聲音由演員演繹，現今科技的便利，拓闊了 人類「繪形繪聲」地呈現幻想世界的各種空間。
無論是透過劇場轉化還是有聲繪本的呈現，也期 望能發現故事的更多可能性，並於未來成為一趟 更具詩意、充滿想像力的夢幻旅程。有興趣深入 K 城世界的觀眾，可於場刊掃描 QR code，或在劇 場入口尋找前往 K 城的車票，一同進入這個文字、 聲音與影像交織而成的奇幻秘境。
我下意識拿出手提電話，
我和這個世界的所有聯繫， 都儲存在這部體重80克的機器裡。
「我」的名字叫做 Forget-Me-Not 。忘記了。
一年多出了一個月份，名為 Marchember 。忘記了。
「我」，在 Marchember，乘上火車到達「春威夷」，這裡有奇異的魚、會呼吸的蘑菇、像金字塔 的三角形房子……歡迎踏上 K 城之旅。你可在這裡找到希望與淡然，或是鬧市中的一刻平靜， 希望你不要忘記。
My name is Forget-Me-Not. I forgot.
Marchember is an extra month in the year. I forgot.
During Marchember, I arrive by train at a tropical paradise where rare fish swim, mushrooms inhale and exhale, and houses are built like pyramids… Welcome to K City, where you can find hope, indifference or serenity among busy streets. We hope you won’t forget.
09 年獲柏立基爵士信託基金研究生課程獎學金，在英國 Birmingham School of Acting 以一級優異成績獲表演系碩士學位。同年於英國倫敦被 劇界報章 TheStage 評選為「崛起新星」。在英國校內演出包括：Troilus and Cressida 的 Cressida/Helen of Troy、Hedda Gabler 的 Hedda 和 The House of Yes 的 Lesly。
加入話劇團前曾任全職攝影師，為多個劇團及香港演藝學院擔任劇場攝影， 亦曾任劇場工作室全職演員，並於劇場不同崗位上發揮所長，包括：劇場工 作室《四千金》（助理音樂總監）；W 創作社《愛是雪》（形體指導）；藝君子劇 團《怪物》（文本創作）、Forget Me Not（音樂創作）及《恐怖罐頭》（聯 合導演）；風車草劇團《在那遙遠的星球．一粒沙》及 I Love You Because； 陳嬌 ×Ronald
Christopher Barreca has designed over 300 productions on Broadway and in theatre, opera, and dance internationally. Premiers include:
Broadway: Rocky (Tony, Drama Desk and Outer Critics Circle Awards), Marie Christine , Gabriel Garcia Marquez’s Chronicle of a Death Foretold (American Theater Wing Award), The Violet Hour, Our Country’s Good (Prague Quadrennial Selection), Search and Destroy (Drama-Logue Award).
Off-Broadway: Adrienne Kennedy’s He Brought Her Heart Back in a Box (Obie Award), Saint Joan by David Byrne of the Talking Heads, Joe Morton in Turn Me Loose. The Painted Rocks at Revolver Creek and The Train Driver written and directed by Athol Fugard; Richard Greenberg’s Everett Beekin , Three Days of Rain (Drama Desk Nomination) Bernada Alba , Bernard-Marie Koltes’s Roberto Zucco; Skarmeta’s Burning Patience and Eric Overmyer’s In Perpetuity Throughout the Universe .
Internationally directed by Travis Preston: Opera American Mother in Germany; King Lear, at the Frictions Festival in France (Prague Quadrennial Selection); Macbeth for one actor, Stephen Dillane, in Almeida Theatre, London; Fantômas: Revenge of the Image at the Wuzhen Theatre Festival; Augustine Machine ou Encore une nuit d'insomnie in France; Buried Child by the Hong Kong Repertory Theatre.
US State Regional Theater: The Guthrie, Hartford Stage, ACT in San Francisco, Baltimore Center Stage, The Ford Theatre and Arena Stage in Washington, D.C.. The Mark Taper Forum, Seattle Repertory Theatre, Berkeley Repertory Theatre, Dallas Theater Center, The Yale Repertory Theatre, The Public Theater, Roundabout and Lincoln Center in NYC.
Theater Consultant: REDCAT Theater in Frank Gehry’s Disney Hall and Berkeley Repertory’s 600-seat proscenium theatre.
Teaching: 30 years at California Institute of the Arts.
Lo Wing 盧榮
媒體設計
Media Designer
畢業於香港城市大學，獲媒體設計及科技藝術碩士。為 OHLO 創辦人，現 任香港演藝學院客席講師。
憑錄像作品《我——媽媽——嬤嬤——爸爸—— DV 》獲第十四屆北京大學 生電影節評委會大獎；《雞、魚與豬肉》獲第十屆 ifva 比賽公開組特別表 揚；《她是女子，我也是女子》為 2005 年亞洲拉子影展播映作品。
曾參與多個代表性作品，包括：《不存在的人》、《回憶吾愛》、《 11 旅程之 女》、《你好，打劫！Reunion 》、《鯊鯊音樂劇》、《小雄蟲俠》、《歌聲無淚》、 《叁拾慌者》、《慾之後事如何》、《新光演義》、《買。棄。囤》、《觀塘人‧情‧ 味》、《待明日風再起時》、《我的 50 尺豪華生活》、《 Game of Life II：你 說謊？我淡忘...》、《鐵行里》、《獨坐婚姻介紹所第二部》、《砵砵車的一生 2023》。
DEVELOPMENT FUND DONORS & DRAMA EDUCATION FUND DONORS
香港話劇團謹此向以下商業機構及熱心人士深致謝意：
The Hong Kong Repertory Theatre expresses its deepest thanks to the following corporations and individuals:
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鳴謝 ACKNOWLEDGEMENTS
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各大傳媒機構
「百回看」、「采滿堂」、「戲連場」、「幕初升」及「好友營」排名以姓氏字母/ 公司英文名稱序 “Encore Donors”, “Ovation Donors”, “Play On Donors”, “Curtain Up Donors” and “Pals Donors” are listed in alphabetical order of family name/company name
• With its founding initiated by the Hong Kong Government in 1977, the Hong Kong Repertory Theatre is the city’s longest-standing and largest professional theatre company. Since its incorporation in 2001, the HKRep operates under the guidance of its Governing Council, employing more than 80 full-time professionals including the artistic team and administrative, technical and educational staff, making it a comprehensive theatre company.
• Since the beginning, the company has positioned itself to present a "balanced repertory", providing wide-ranging, diverse theatrical approaches to serve the city’s population at large. In the past 48 years, the HKRep has produced nearly 500 works, many becoming classics of the local dramatic canon, consolidating its influence as Hong Kong’s flagship theatre company.
MISSIONS
• The HKRep’s mission is to elevate the city’s overall cultural life, strengthen its humanistic spirit, exert Hong Kong’s advantage at the crossroad of cultures East and West, and develop a unique Hong Kong theatre aesthetic.
AREAS OF ACTIVITY
• Balanced Repertory——Devising a season comprised of local original works, translations and adaptations of classic and contemporary plays from the Mainland and abroad. The company collaborates with playwrights, directors, actors, designers and other talents within and outside of the company to create artistically excellent mainstream and contemporary theatre productions.
• Black Box Theatre——Embodying flexibility and creativity, the Black Box Theatre provides a practical platform for up-and-coming theatrical talents to explore new areas and develop different means and modes of performance and narratives, fostering the long-term development of Hong Kong’s theatrical arts.
• Theatre Education——Through the operation of the HKRep Education Hub, the company proactively organises outreach and theatre education programmes to help theatre become part of life. It also utilises the diverse potential of theatrical arts in providing adult and student drama and technical training. The HKRep tours regularly among schools and communities in developing young audiences, nurturing positive social values and attitudes.
• International Exchange——The company strengthens ties internationally and with the Mainland by touring programmes that in turn promote Hong Kong’s theatrical culture. The company also endeavours to develop collaborations to expand potential markets beyond Hong Kong.
• Theatre Literature——Through such platforms as play development, Reader’s Theatre, seminars, reviews and publications of theatre literature, the HKRep is committed to documenting, preserving and extending research in the dramatic arts.
• Dramaturgy——In response to the needs of specific productions or creative projects, the HKRep has instituted the position of Dramaturg to elevate the artistic quality and socio-cultural content of contemporary theatre.
• Text Testing Zone——The HKRep provides up-and-coming playwrights with potential opportunities to put on new works with simple staging and technical support, thus testing the quality of their creations as they continue to revise and refine their scripts.
名譽贊助人 HONORARY PATRON
梁愛詩博士 Dr. Elsie Leung GBM, JP
理事會 THE COUNCIL
主席（署理） CHAIRMAN (ACTING)
陳卓智先生 Mr. Paul Chan
副主席 SECOND VICE-CHAIRLADY
徐莉女士 Ms. Tsui Li BBS, JP
司庫 TREASURER
歐楚筠女士 Ms. Au Chor Kwan, Ann JP
理事 MEMBERS
陳健平先生 Mr. Chan Kin Ping BBS, JP
車淑梅女士 Ms. Chea Shuk Mui, MH
鄭偉康先生 Mr. Cheng Wai Hong, Henry, MH
高慧敏女士 Ms. Chiao Wai Man, Hazel
馮志豪先生 Mr. Fung Chi Ho, Matt
黃文稀女士 Ms. Wenxi Huang
簡吳秋玉女士 Mrs. Helen Kan
關佐仲先生 Mr. Kwan Chor Chung, Spencer
劉興華先生 Mr. James Lau, BBS, MH, JP
施榮懷先生 Mr. Irons Sze GBS, BBS, JP
謝偉銓議員 Hon. Tse Wai Chuen, Tony, SBS, BBS, JP
王淑筠女士 Ms. Diana Wong MH
王紹基先生 Mr. Ivan Wong, JP
首任主席 FOUNDING CHAIRMAN
周永成先生 Mr. Vincent W. S. Chow SBS, BBS, MBE, JP
榮譽主席 HONORARY CHAIRMEN
楊顯中博士 Dr. John Yeung Hin Chung, SBS, OBE, JP
胡偉民博士 Dr. Wai-man Woo, SBS, BBS
蒙德揚博士 Dr. David Mong
名譽藝術顧問 HONORARY ARTISTIC ADVISORS
鍾景輝博士 Dr. Chung King Fai SBS, BBS
林克歡博士 Dr. Lin Kehuan
賴聲川博士 Dr. Stan Lai
張秉權博士 Dr. Cheung Ping Kuen MH
桂冠導演 DIRECTORS LAUREATE
毛俊輝教授 Prof. Fredric Mao BBS
陳敢權先生 Mr. Anthony Chan
名譽顧問 HONORARY CONSULTANT
陳健彬先生 Mr. Chan Kin Bun BBS, MH
名譽法律顧問 HONORARY LEGAL ADVISOR
伍宇鍔先生 Mr. Edward Ng
香港皇后大道中345號上環市政大廈4樓 4/F Sheung Wan Municipal Services Building, 345 Queen’s Road Central, Hong Kong
查詢 ENQUIRY (852) 3103-5930 • enquiry@hkrep.com
追蹤香港話劇團 FOLLOW THE HKREP www.hkrep.com
藝術人員 ARTISTIC STAFF
藝術總監 ARTISTIC DIRECTOR
潘惠森 Poon Wai Sum
助理藝術總監 ASSISTANT ARTISTIC DIRECTORS
方俊杰 Fong Chun Kit
劉守正 Lau Shau Ching
邱廷輝 Yau Ting Fai
演員 ACTING COMPANY
歐陽駿 Eddy Au Yeung
陳嘉樂 Kalok Chan
陳健豪 Angus Chan
陳 嬌 Chan Kiu
張紫琪 Kiki Cheung
蔡溥泰 Trickle Choi
周志輝 Chow Chi Fai
高翰文 Ko Hon Man
郭靜雯 ManMan Kwok
陸嘉琪 Luk Ka Ki
麥靜雯 Eva Mak
吳家良 Ng Ka Leung
潘泰銘 Poon Tai Ming
陳煦莉 Karrie Tan
丁彤欣 Tunes Ting
杜雋饒 Dee To
王曉怡 Wong Hiu Yee
黃慧慈 Mercy Wong
余翰廷 Yu Hon Ting
張 焱 Clinton Zhang
戲劇文學部 THEATRE LITERATURE
經理（戲劇文學）MANAGER (THEATRE LITEATURE)
郭永康 Ivan Kwok
副經理（戲劇文學）
ASSISTANT MANAGER (THEATRE LITEATURE)
吳俊鞍 Walter Ng
戲劇文學研究員 THEATRE LITERATURE RESEARCHER
喻汀芷 Yu Tingzhi
戲劇文學實習生 THEATRE LITERATURE TRAINEE
胡筱雯 Surman Woo
技術及舞台管理人員
TECHNICAL AND STAGE MANAGEMENT STAFF
舞台技術主管
HEAD OF TECHNICAL AND STAGE MANAGEMENT
溫大為 David Wan
技術監督 TECHNICAL MANAGER
蔡敬堯 Tony Choi
舞台監督 STAGE MANAGERS
馮國彬 Lawrence Fung
吳家進 Pen Ng
楊貴雄 Yeung Kwai Hung
執行舞台監督 DEPUTY STAGE MANAGERS
陳國達 Chan Kwok Tat
羅美琦 Katy Law
譚佩瑩 Dawn Tam
助理舞台監督 ASSISTANT STAGE MANAGERS
王塱顯 Hugo Wong
郭嘉蕘 Klarissa Kwok
劇場技師 THEATRE TECHNICIAN
曾靖嵐 Tammy Tsang
何博恆 Brian Ho
化妝及髮飾主任 MAKE-UP AND HAIR-DRESS MISTRESS
汪湘雲 Amy Wong
副化妝及髮飾主任
ASSISTANT MAKE-UP AND HAIR-DRESS MISTRESS
李淑貞 Mep Lee
服裝主任 WARDROBE SUPERVISOR
甄紫薇 Annabel Yan
副服裝主任 ASSISTANT WARDROBE SUPERVISOR
胡瑞心 Jac Woo
服裝助理 WARDROBE ASSISTANT
江清蓉 Ellen Kong
道具主任 PROPS MASTER
曹晉誠 Season Cho
電機師 PRODUCTION ELECTRICIAN
蔡旻佑 Billy Choi
影音技師 A/V TECHNICIAN
祁景賢 Kee King Yin
行政人員 ADMINISTRATION STAFF
行政總監 EXECUTIVE DIRECTOR
梁子麒 Marble Leung
總監秘書 SECRETARY TO DIRECTORS
黃麗群 Tracy Wong
節目部 PROGRAMME
節目主管（營運）HEAD OF PROGRAMME (OPERATION)
彭婉怡 Yvonne Pang
節目主管（製作）HEAD OF PROGRAMME (PRODUCTION)
黎栩昕 Sunnie Lai
經理（節目）MANAGERS (PROGRAMME)
李寶琪 Pauly Lee /鄺天恩 Matthew Kwong
副經理（節目）ASSISTANT MANAGER (PROGRAMME)
蔡倖培 Rosaline Choi
節目主任 PROGRAMME OFFICER
盧子健 Finnick Lo
節目助理主任 PROGRAMME EXECUTIVES
蘇建衡 Anthony So /陳俊霖 Annie Chan/余天慧 Grace Yu
外展及教育部 OUTREACH AND EDUCATION
教育中心主管 HEAD OF EDUCATION HUB
周昭倫 Chow Chiu Lun
經理（外展及教育）MANAGER (OUTREACH AND EDUCATION)
張碧珊 Meadow Cheung
教育節目統籌 EDUCATION PROGRAMME SUPERVISOR
梁智聰 Eric Leung
副市務經理(外展及教育)
ASSISTANT MARKETING MANAGER (OUTREACH AND EDUCATION)
黎晞彤 Tiffany Lai
副行政經理（外展及教育）
ASSISTANT ADMINISTRATION MANAGER (OUTREACH AND EDUCATION)
陳潔瑩 Kristy Chan
副經理（外展及教育）ASSISTANT MANAGER (OUTREACH AND EDUCATION)
甄卓文 Cherry Yan
技術統籌主任（外展及教育） TECHNICAL COORDINATOR (OUTREACH AND EDUCATION)
黃靜文 Ivy Wong
外展及教育主任 OUTREACH AND EDUCATION OFFICERS
莫家慧 Kiwi Mok/黎嘉雯 Kit Lai
外展及教育助理主任 OUTREACH AND EDUCATION EXECUTIVE
彭海寧 Grace Pang
市務助理主任（外展及教育）
MARKETING EXECUTIVE (OUTREACH AND EDUCATION)
鄭樂晴 Asa Cheng
市務及拓展部 MARKETING AND DEVELOPMENT
市務及拓展主管 HEAD OF MARKETING AND DEVELOPMENT
黃詩韻 Anita Wong
經理（市務及拓展）MANAGER (MARKETING AND DEVELOPMENT)
田慧藍 Alice Tin
經理（數碼市務推廣）MANAGER (DIGITAL MARKETING)
張泳欣 Yansi Cheung
副經理（市務及拓展）ASSISTANT MANAGER (MARKETING AND DEVELOPMENT)
