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House Rules Dear Patrons, In order to make this performance a pleasant experience for the artists and other members of the audience, please refrain from recording, filming, taking photographs, and also from smoking, eating or drinking in the Theatre. Please ensure that your mobile phones and any other sound and light emiting devices are switched off during the performance. Thank you for your co-operation. Recycling of House Programmes If you do not wish to keep this house programme, please leave it on your seat or return it to the admission point after the performance for recycling. Thank you. The presenter reserves the right to substitute artists and change the programme should unavoidable circumstances make it necessary. The content of this programme does not represent the views of the Leisure & Cultural Services Department. 場地規則 各位觀眾: 為求令表演者及觀眾不致受到騷擾,請關掉 手提電話、其他響鬧及發光的裝置。同時請 勿在場內飲食或擅自攝影、錄音或錄影。 多謝合作。 場刊回收 閣下若不準備保留本節目場刊,請於終場離 去前把場刊留在座位,或放進入口處的回收 箱,以便循環使用。多謝合作。 如遇特殊情況,主辦機構保留更換節目及表 演者的權利。 本節目內容並不反映康樂及文化事務署的 意見。

What is AFTEC?


The Absolutely Fabulous Theatre Connection (AFTEC) is a bilingual theatre organisation with arts learning embedded in its philosophy. We believe in creating extraordinary opportunities for extraordinary people of all ages. Our core programmes this season include the ever popular bilingual productions of timeless classics acted by young people, the very popular The Jockey Club “From Page to StageTM” Programme for schools; the Sm-ART Youth social service through the arts project and the Medical Humanities programme in Drama & Music for the Li Ka Shing Faculty of Medicine at The University of Hong Kong. AFTEC is a venue partner of the LCSD’s Venue Partnership Scheme. Website:

誇啦啦藝術集匯 (AFTEC) 為一雙語劇場機構,以藝術學習 為理念。我們深信要為不同的非凡人士締造非凡機會。 我 們在這個季度的主要節目包括︰膾炙人口的經典雙語青年 劇場;深受歡迎的學校節目︰ 「從文本到舞臺TM」賽馬會前瞻 劇場教育計劃;透過藝術服務社群的「Sm-ART 青年計劃」 ; 及香港大學李嘉誠醫學院︰結合戲劇和音樂的醫學人文 科。誇啦啦藝術集匯為西灣河文娛中心場地伙伴。 網址:

The consortium comprises: Shakespeare4All® Co. Ltd. Seals Players Foundation Ltd. Eduarts Ltd.

What is The Jockey Club “From Page to StageTM” Programme

誇啦啦現有三個合作伙伴: 香港小莎翁有限公司 海豹劇團基金有限公司 香港啟智有限公司

「從文本到舞臺TM」賽馬會前瞻 劇場教育計劃是甚麼?

The Jockey Club “From Page to Stage TM” Programme is a 「從文本到舞臺TM」賽馬會前瞻劇場教育計劃榮獲香港賽馬 3-year programme, sponsored by The Hong Kong Jockey 會慈善信託基金三年資助,旨在把經典劇目重現舞臺,並 Club Charities Trust. It is a fresh and unique educational 提供演前及演後駐校戲劇工作坊,培育本地中學生對經典 adventure for local secondary school students. Through 文學的興趣。 high quality drama performances and in-school pre- and post- show workshops, we aim to nurture local students’ interest in classic literature and appreciation of the arts.

Performance Details (School Performances)

演出詳情 (學校專場)





11 1:45pm

12 1:45pm

13 1:45pm 4:30pm

14 10:15am 1:45pm 4:30pm

15 1:45pm 4:30pm

18 1:45pm 4:30pm

19 1:45pm

20 1:45pm 4:30pm

21 1:45pm 4:30pm

22 1:45pm 4:30pm

25 1:45pm

26 1:45pm 4:30pm

27 1:45pm 4:30pm

28 1:45pm 4:30pm

Venue: Sai Wan Ho Civic Centre Theatre In English with Chinese surtitles.



FRI 五 8 1:45pm 4:30pm

演出地點: 西灣河文娛中心劇院 英語演出,附中文字幕。


Foreword by Permanent Secretary for Education Mrs. Cherry Tse I feel privileged to be invited to witness the Opening Ceremony of The Jockey Club “From Page to Stage™” Programme. Language learning happens not only in the classrooms. It happens anywhere and in whatever forms that give students an authentic feel of how language can enrich human interactions. Drama, being a holisitc condensation of different forms of artistic expression, is a particularly apt facilitator of language acquisition. The Education Bureau has long been promoting drama as a learning and teaching strategy and a co-curricular activity in schools. Elements of drama are incorporated into the senior secondary English Language and Chinese Language curricula. A large number of students also take part in the Schools Drama Festival every year. The Jockey Club “From Page to Stage™” Programme aims to bring drama and English language learning to schools in a theatre. Quality drama productions based on classic and great novels are staged by a native English-speaking cast. Students are engaged in activities before and after the performances that help connect the experiences of the characters in the novel with those of the audience. The total experience that students enjoy before, during and after a performance can enhance not only their appreciation of the beauty of the English language, but also their reflection of how they can relate to people and events around them so that they may live a fuller and more meaningful life. It is remarkable that The Jockey Club “From Page to Stage™” Programme 2013 has topped the 10,000th student who bought a ticket to the adaptation of Conan Doyle’s The Lost World directed by Dr. Vicki Ooi. I would like to take this opportunity to express my sincere appreciation to The Hong Kong Jockey Club Charities Trust and The Absolutely Fabulous Theatre Connection for their passion in supporting students’ learning through drama. This Opening Ceremony marks, I am sure, only the beginning of an exciting journey of discovery for the students.


Message by CEO of The Hong Kong Jockey Club Mr. Winfried Engelbrecht-Bresges, JP On behalf of The Hong Kong Jockey Club, I would like to congratulate The Absolutely Fabulous Theatre Connection (AFTEC) for developing The Jockey Club ‘From Page to StageTM’ Programme, an amazingly creative venture which has successfully entered into its second year. Launched in 2011 with a donation of close to HK$4 million from the Club’s Charities Trust, this three-year project provides a unique platform to enrich students’ knowledge of classic English literature while at the same time enhancing their English language skills by bringing the text to life through theatre performances. We are particularly gratified that the funds have empowered AFTEC to reach out beyond the mainstream to develop diversified teaching materials and organise both pre- and post- show workshops for schools, giving students with different learning abilities a better chance to take part. Such a meaningful programme is a worthy example of The Hong Kong Jockey Club’s commitment to supporting local arts and cultural development. In the past ten years alone, our donations to arts and culture have totalled some HK$1.84 billion. All these contributions are made possible by our unique not-for-profit business model, which channels public demand for betting services to benefit the community at large. Following the hugely successful staging of Emma in 2012, the programme’s first play adapted from the English novelist Jane Austen’s beloved story, we are delighted to see that the upcoming production of Sir Arthur Conan Doyle’s The Lost World will set a milestone of 10,000 students participating in this programme. That is truly a remarkable achievement, and my sincere thanks once again to AFTEC for their dedication in bringing knowledge to life for Hong Kong students with such wonderful plays. I am sure The Lost World will be another resounding success.


Director’s Notes When I dreamed of “From Page to Stage™”, my mission was to make the play of a novel so exciting that the students would rush from the performance (stage) back to the novel (page). I made it my mission to direct a good production to honour the novel I had adapted. It’s been a few years now since AFTEC started “From Page to Stage™” and we have sold from a few hundred tickets in the first year to over 10,000 tickets for the production of The Lost World. Why did I choose this novel? Because it was so outrageously unreal that it is so outrageously imaginative. Arthur Conan Doyle was one of those Victorian gentlemen who sat by the fire and imagined a life that was so unlike the staid lives that they and their friends were leading. His counterpart in France, Jules Verne, wrote about ships that could go under water or the possibility of circling the world in 80 days. His compatriot, H.G. Wells, wrote about building a rocket to the moon. Their books thrilled everyone, young and old. Today, our boys are blasé about travel to space or other inventions like 3-D Printing. Their lives have, unfortunately, ceased to be imaginative as science has become more real than their reality. What else is left to dream about when the whole of space has been exposed and everything that can be invented has already been invented? Perhaps to be imaginative today we have to go back to history and reinvent the wheel. I chose The Lost World so that I could invent my own primeval world. I started with the prehistoric animals. Dinosaurs? What kind? What were Pterodactyls? And what would the ape men look like? Research for the adaptation began a year ago. The imagination in this life is sometimes stopped by the realities of limited resources. How could we build a set to look like the Lost World on a limited budget? And how could we construct dinosaurs to fit in with the sets? I talked to different people and finally decided on large size puppets so that the dinosaurs could move. We started work on concept and design eight months ago. I was lucky to work with puppeteer maker Paul Chan and my set designer Andrew Ritchie. To them go the honours of imaginative minds. Andrew is also my costume and lighting designer, thus laying on two extra dimensions to his creative sets. The sets cannot come alive without actors. I have worked with a group of core actors over the last few years on productions of “From Page to Stage™”. And they are so

imaginative and creative that they can make you believe that they are Victorian ladies and gentlemen going on an expedition to satisfy their imagination. Together, we hope to bring you an experience of discovery as you re-think the idea of evolution. What if the human animal had become extinct instead of the Pterodactyls? Would we now be flying around and attacking each other instead of dropping bombs on each other? Would we be enjoying a better society in a primeval forest instead of a smog filled city like Hong Kong? The plot of The Lost World is to thrill the nerves and to stimulate the imagination. Professor Challenger is the perennial thinker, and Roxton the explorer and the other characters people who want to find excitement in a dull world. I am a big fan of Stephen Spielberg because, like him, I never grew up. It has been said of him that “. . .he is very often interested in the theme of extraordinary things happening to ordinary people.” This is a nice caption for the characters in The Lost World. And for those of us who try to make our lives and your lives extraordinary by giving you an extraordinary theatrical experience in The Lost World. Beware of the dinosaurs and the Pterodactyls stalking you. But enjoy! Dr. Vicki Ooi


導演的話 當初想到「從文本到舞臺TM」這個計劃時,我的原意 假如今天的我們還是喜歡想像的話,也許我們得追溯 是把小說打造成一臺精彩好戲,精彩得教同學們看完 歷史,重新發明車輪。我選擇《迷失世界》 ,旨在創造 表演(舞臺)後立刻奔向小說(文本)。 屬於自己的原始時代。 我的任務是把改編而成的劇本導成一套好的舞臺劇, 向我喜歡的文本致敬。四年前誇啦啦藝術集匯開展 「從文本到舞臺TM」這個計劃的時候,只賣了數百張 門票。今天,我們的《迷失世界》已經賣了超過一萬 張門票。 為甚麼選擇這本小說?因為它的狂妄和超現實創造了 無限的想象空間。

首先是史前動物。恐龍?甚麼恐龍?翼手龍是甚麼? 猿人到底長甚麼模樣?一年前我們就開始搜集資料。 在現實生活中,人的想像力往往受有限的資源所限 制。怎樣才能利用有限的資金建造一個貼近「迷失世 界 」的舞臺?怎樣的恐龍才能配合這樣的舞臺?經過 與不同的人討論後,我最終決定製作大型的戲偶恐 龍,讓它們可以在臺上活動。八個月前我們著手想像 和設計。能夠與我的戲偶設計師陳詩歷(Paul Chan) 和舞臺設計師李鞍道(Andrew Ritchie)合作實在是非 常幸運。他們都是想像力豐富的人。Andrew更是我 們的服裝和燈光設計師,無疑又為我們舞臺的兩個層 面添加了創意。

柯南•道爾(Arthur Conan Doyle)是那種會坐在火爐 旁造夢的維多利亞紳士,夢中的一切與其他人乏善足 陳的生活截然不同。與他同期的法國作家儒勒•凡爾 納(Jules Verne) ,描寫了在水底前進的船,還有在八 十日內環遊世界的可能性。柯南的同胞喬治•威爾士 (H.G. Wells)更描寫了衝上月球的火箭。當時,不管 舞臺是龍,還需要演員為我們點睛。過去數年我一直 男女老幼都對他們的書嘖嘖稱奇。 和「從文本到舞臺TM」的核心演員合作。他們的想像力 和創造力的確能使你相信,他們就是維多利亞時期那 今天,我們的孩子厭倦了太空漫遊或三維打印等等發 伙為實踐夢想而踏上征途的人。 明。當科學發展得比生活更為現實,可憐的孩子們就 不會再想像。整個太空都被翻轉了,可以發明的東西 我們希望藉著這次的演出,為你帶來一次探索的體 都發明了,哪裏還有造夢的空間? 驗,同時重新思考進化的意義。假如絕種的是人類而 不是翼手龍呢?我們會盤旋天際、互相攻擊嗎?還是 會像現在互相投擲炸彈?比起煙霧籠罩的香港,住在 原始森林裏會否讓我們的社會變得更好? 《迷失世界》是一個緊張而又能刺激想像力的故事。 查路家教授是位長青的思想家,駱振莊是探險家,而 其他角色就是想要在這個沉悶的世界尋找刺激的人。 作為史堤芬史匹堡(Stephen Spielberg)的忠實影 迷,我跟他一樣,都是永遠長不大的。曾經有人說 他:「特別喜歡讓不尋常事件發生在尋常百姓家。」 這句說話很適合形容《迷失世界》的角色;對於製作 《迷失世界》這個不尋常的劇作為你的生命帶來不尋 常體驗的人,這個形容也頗為貼切。 小心被恐龍和翼手龍盯上!請細心欣賞。 黃清霞博士


Composer’s Notes


With the mysterious and vast jungle at its peaceful condition, the Lost World is a romantic land that you could imagine. Sunlight passes via the treetop. Wind swings the leaves. Water flows in the river. With the rich harmony of sounds created in the jungle nearly lead you to the paradise. Unfortunately, life always goes with less peace. In the adventure, sounds of dinosaurs somehow bring some regrets to that romance. You could hear how dinosaur approaches you, how pterodactyl attacks you, and even how the ape men attack you. Luckily, they are all artificial sounds created and programmed by computer. Enjoy!

平靜的森林遼闊而帶著神秘的色彩,相信你不難想像 到迷失世界是一個何等浪漫的國度。那裡樹影婆娑, 小溪流水淙淙作響。一段段由大自然合奏而成的妙 韻,讓我們猶如置身天堂當中。遺憾的是生命裡總有 不平靜的時刻。在這次的歷險中,恐龍的吼叫便劃破 了這種恬靜的浪漫。你能聽到恐龍靠近、翼龍發動襲 擊、猿人進攻等的聲音。幸好,這些音效都是經電腦 創造及製作。請細心欣賞!

Lam Lai





This is a story for those who dare to dream and imagine the impossible.


Edward Malone, a reporter for a newspaper, is to interview Professor Challenger who is supposed to have found dinosaurs in South America. Together with the other team members, they go on an expedition into the lost world to prove that dinosaurs did exist.

《迷失世界》講述新聞記者龍安在一次 採訪生物學家查路家教授的機會下,得 知南美洲有一個神秘領域,可能仍然居 住了一群遠古生物 – 恐龍。 為了查證 恐龍的存在,查教授、龍安和其他專家 組成了一隊遠征隊伍,帶著期望向南美 洲及他們的夢想出發。

They hire guides to help them. These guides are very afraid as one of their friends was 探險隊在南美洲聘請了嚮導,並找到一 killed in an earlier adventure. The bridge 些「藍色粘土」,他們經歷重重險阻,有 from which they need to return is destroyed. 四個隊員甚至被猿人捉走,回去之橋樑 They have to continue… 似乎已經斷絕,夢想之地就在前方……



The 39 Steps: A Murder Mystery Background

Written by John Buchan in 1915 with the First World War as the background, the book was adapted to a film by the famous film director Alfred Hitchcock in 1935. It was this film that made the plot (story) well known. The 39 Steps is an exciting murder thriller that, on stage, requires only a few actors to play many roles. In AFTEC’s production in 2014, we will do the same and there may also be a reversal of roles in which male actors play female roles!

Plot Summary

It is nearly the First World War. Richard Hannay, who lives in London, finds Franklin Scudder knocking on the door. Scudder is a spy and also a photographer. He has information about a plot by German spies to leak plans for war by the British. Then Scudder is killed and Hannay decides to continue Scudder’s work. With both German spies and the police chasing after him, Hannay must solve the case on his own.

Solve the Mystery

What do the 39 steps mean? Come and find out!

Education Pack

• Background to the play and the First World War • Activities for discussion, role-play, research, prediction, and writing • Glossary Tickets at $60 - Returning schools: 50% discount for 150 students or more* - New schools Early Bird: 5% off - Booking details coming soon *Terms & Conditions apply. Please refer to from April 2013 for details.



MIKE BROOKS as PROFESSOR CHALLENGER Mike has been performing for some thirty years in radio, TV, film and theatre. Plays include Dracula*, Great Expectations*, Tom Sawyer*, Death of a Salesman*, Sherlock Holmes*, A Christmas Carol*, Tartuffe, Fiddler on the Roof, Pippin, Come as You Are, Hotel Paradiso, and The Devils Disciple. * AFTEC production

John Hanning Speke, the explorer of the River Nile. Inspiration for Professor Challenger’s styling.


CANDICE MOORE as MRS. CHALLENGER Candice Moore is from Edinburgh, Scotland and is an experienced actress, director, drama coach and voice-over artist. She trained in drama at The Royal Scottish Academy of Music and Drama, studied directing at RADA and holds the LAMDA Teachers’ Certificate in Communication with distinction. As an actress she has performed in The Overcoat (Theatre du Pif), Godspell and Flesh (Lindsey McAlister Productions), Misery (Wordybird Theatre Company), The Sneeze (HK Microfest), Orphans (HK Players.) Her directing projects include The Killing of Sister George (Wordybird Theatre Company), Agnes of God (HK Theatre Association), Talk Radio (HK Theatre Association), Ms Directing (HK Youth Arts Foundation), Sleuth (Sweet and Sour Productions Limited), An Inspector Calls (HK Players), Iron (Sweet and Sour Productions Limited), California Suite (Sweet and Sour Productions Limited). Candice is a successful voice-over artist and dubbing director for cartoons, commercials, films, publishers, radio, television and video games. She presents The Sunday Smile on RTHK Radio 3. As a voice coach, she works with clients on vocal impact challenges and communication skills. She is also an experienced corporate role-player for a wide range of sectors. For more information please visit her website

Mary Kingsley, the first female British explorer. Inspiration for Mrs. Challenger’s styling.



Seth Leslie began acting from the age of five. His first role was as a piece of trash rolling across a stage. His roles got gradually better from there. At 18 he attended a Small Company and Community Theater course at Ballarat University. He quickly surpassed his lecturers and the University had no choice but to take him out of the course and hire him as a drama instructor instead. Two years later he was accepted into the distinguished Charles Sturt University to study Acting for Screen and Stage. After graduating with a Bachelor of Performing Arts (Honors) he joined an Australian Theater Tour as a principle actor for 11 months. Tired of Australia, he joined a theatre tour in Italy for 6 months and then moved to Hong Kong. Seth Leslie has performed in over 46 different plays. He has appeared in over 9 films, 12 tv dramas and over 65 tv commercials (including ADIDAS, vodafone, Lacoste, Pringles and Budweiser). As a model he has been the face for Estee Lauder, Cookoo Watches, HSBC, Le Coq Sportif and the ambassador for Hong Kong tourism! If you want to ask Seth any questions about this production, working with AFTEC or keep up with his career, please support him by joining



Michelle trained at the British School of Performing Arts and then at the London School of Musical Theatre, both in the UK. After graduating she went on to play Sybil Burlington in Daisy Pulls it Off (Cochrane Theatre) and Julie in Miss Julie (Peacock theatre London.) As well as touring in various Theatre in Education shows around the UK (Romeo and Juliet, Cinderella, and Too much punch for Judy) Michelle also worked closely with the London Film School acting for them in over 6 films. Following that Michelle played the role of the Ghost in the film Walking with Shadows for Channel 4, starring alongside Lesley Philips. Whilst In Hong Kong Michelle greatly enjoyed playing the role of Emma in AFTEC’s production last year, and the role of Estelle in Great Expectations also with AFTEC. She is now very excited to be embarking on to a new adventure, into The Lost World!



Born in Australia, Michael Sharmon first studied dance at Tony Bartuchio’s and Drama at Swinburne University. His first professional experience occurred fresh out of school, when he was chosen to represent Victoria in I am Australian produced by Bruce Woodley from The Seekers. On Television Michael has appeared in Neighbours, Sea Patrol and East of Everything. Michael won an award for best actor for the short film Bollywood Allstars and appeared in the movie Nim’s Island starring Jodie Foster. After graduating from the New South Wales Conservatorium, in 2007, Michael directed his first production, an adaption of Peter Pan, starring students who were part of the Youth Theatre programme at the Conservatorium. After moving to Hong Kong he helped to found the company “Golden Voice Entertainment” which has produced many musical shows throughout Hong Kong and Greater China. On stage Michael played Lucky Eric in Bouncers, Mr Elton in Emma*, The Narrator in Putting It Together, Orlick in Great Expectations*, Seymour in Little Shop of Horrors and Scrooges Nephew in A Christmas Carol*. In June Michael will be playing the role of Hamlet in the Shakespearean Classic at the Fringe Club. * AFTEC production



After studying drama in the US in the 1980s Barry has been acting ever since, first in theatre in Washington DC (Knuckle, A Cry of Player’s and Krieg) and then in the UK where he worked in Fringe, Repertory theatre, the West End and National tours of The Normal Heart, Fool for Love, The Glass Menagerie, The Homecoming, Bus Stop and Jeffrey Bernard is Unwell. In addition to television roles, corporate work and commercials in the UK, since moving to Hong Kong, he has worked on stage roles in Misery, Sleuth, Oliver!, Iron, An Inspector Calls, and Filumena, as well as TV and film work. For AFTEC he has already appeared in Sherlock Holmes, A Christmas Carol, and Great Expectations.



NEWSPAPER BOY, BUTLER, GOMEZ, APE-KING, UNDERSTUDY OF MRS. CHALLENGER AND PEARL MAPLE WHITE Meike Behrmann is a theatre, film and TV actress living in Hong Kong. She graduated as a Musical Theatre Performer from the Performing Arts School in Berlin, Germany in 2005. She has been continuously working as a dancer singer and actress in Germany, Italy, The Netherlands, UK, Greece, India and Hong Kong. Meike’s performance experience includes Dracula (Dancer, Singer), Four and The City (Dancer, Singer), The Honeypearls Musical Gala (Lead Singer, Dancer), Life in 1920 (Actress), Musical and Variety Show (Lead Singer), Cave Cavern Cavernous (Dancer), Sasesham (Actress, Dancer), The Unbegotten (Dancer), Romeo and Juliet (Actress, Dancer), Rocky Horror Show (Usherette, Dance Captain).


Creative & Production Teams

DR. VICKI OOI Director & Adaptor Dr. Ooi began teaching Theatre and English in the English Department of The University of Hong Kong in 1971 and retired after almost 30 years there. She was instrumental in founding the Drama Lab at HKU where many generations of Hong Kong directors and actors were nurtured. A well-known theatre director in Hong Kong for over 20 years, Dr. Ooi was one of the earliest directors to introduce western plays in translation on the Hong Kong stage. She has directed many plays for her own company, Seals Players Foundation, as well as guest directed for theatre companies in and outside of Hong Kong. She has won theatre awards, has served on the Hong Kong Arts Development Council and has published widely on theatre and cultural policy research. In 1992, she founded the Hong Kong chapter of the International Association of Theatre Critics, whose mother body is UNESCO. This society is still on going. After retirement, she was invited to be part time consultant for the Primary Schools English Development Pilot project on Net Teachers Scheme for Primary School in 2000 to 2002. Whilst working there, Dr. Ooi was invited to apply her experience in writing a resource package called Let’s Experience and Appreciate Drama (LEAD). It was produced by the English Section, Curriculum Development Institute of the Education Department to provide teachers with some effective strategies, activities and exemplars on how to use drama effectively in the learning and teaching of English at primary level. In 2008-2010, she was also instrumental in developing the curriculum for English language teaching and learning through drama for SCOLAR’s Drama Alliance programme. Partnering the British Council, a Teacher’s Manual was created to teach over 200 teachers in 51 primary schools. In 2010-11, SCOLAR once again appointed Dr. Ooi as the curriculum planner for its English Alliance- Stories Alive (Readers’ Theatre) Programme, which aims to enhance teachers’ skills and techniques in using Readers’ Theatre to teach English at primary level. For 2012, alongside the S4A team, she has created a host of projects across different art forms for SCOLAR’s English is Everywhere programme. In 2003, Dr. Ooi established Shakespeare4All® Ltd. (S4A), a charity that works with local students on their English fluency and in the building of self confidence through adapted Shakespearean plays. She created a ground breaking event in association with The Globe Theatre in London to run a Learning and Participation Festival for S4A in May 2012, the first ever Shakespearean drama showcase & learning competition for local schools. Under her leadership, S4A has also been awarded The Springboard Grant awarded by the Home Affairs Bureau in 2012. Since December 2008, under the LCSD’s Venue Partnership Scheme at the Sai Wan Ho Civic Centre, Dr. Ooi, as Artistic Director under the name of The Absolutely Fabulous Theatre Connection (AFTEC), directed professional actors in the AFTEC English Learning & Participation The Jockey Club “From Page to StageTM” Programme. This programme has won a major 3-year support from The Hong Kong Jockey Club Charities Trust, and Dr. Ooi will be directing an adaptation of John Buchan’s The 39 Steps in March 2014. In addition she is nurturing a youth theatre in Chinese as part of AFTEC’s bilingual philosophy. Since April 2009, she is the Course Leader for the very new and unique Postgraduate Diploma in Integrated Arts programme at HKU SPACE. This programme will be extended to a Masters degree in the near future. In 2008, she was appointed as the University Artist in Drama by The University of Hong Kong. In July of 2009, Dr. Ooi was invited to collaborate with the internationally acclaimed dramatist, David Henry Hwang, in rehearsed play readings as the Opening Celebrations of its 2009 Summer Institute in the Arts and Humanities in Loke Yew Hall. Dr. Ooi was recently invited to give a presentation in the Shakespeare strand of the Worlds Together arts education conference organized by the Tate, British Museum and the Royal Shakespeare Company in London in September 2012 where she will speak on “Glo-calisation: A Decade of Drama in Shakespeare4All”.


ANDREW RITCHIE Production Designer Andrew Ritchie was born and raised in the United Kingdom. He completed design training in London, before moving to Hong Kong in 1973, where he worked in the architectural field for over 25 years. His interest in the theatre began in primary school days, when he was lucky enough to see spectacular productions in the Edinburgh Festival. Later he got see plays such as The Royal Hunt of the Sun at the Old Vic in London, and to take part (backstage) in school productions. Involvement in theatre in Hong Kong began a few months after arrival. Although active in set design (Rosencrantz and Guildenstern are Dead, The Taming of the Shrew, etc), and stage management (City of Broken Promises, The King and I), he quickly specialised in lighting. He has designed lighting for more than 70 stage productions in Hong Kong, ranging from late-night revue to grand opera. Highlights include La Bohème for the Urban Council (City Hall Concert Hall), Rashomon for Seals Theatre Co (APA Lyric Theatre), the first plays in the Arts Centre’s Shouson Theatre (Bequest to The Nation), and the Macauley Studio Theatre (Stoppard’s Travesties), Fiddler on the Roof for the 25th anniversary of the City Hall, 2 different productions of The Fire Raisers in both English and Cantonese, etc. The Lost World is his 12th production for AFTEC after The Duchess of Malfi, Volpona, The Kitchen, Death of a Salesman, Sherlock Holmes’ The Speckled Band and Emma. He has also designed for Seals’ Three Sisters, Othello, The House of Bernarda Alba.

LEE MA TAI Sound Designer Lee completed his Bachelor of Sound Design and Music Recording at The Hong Kong Academy for Performing Arts. Awarded with scholarships, he had internship and academic exchanges at Canada and Singapore. By The Sequel of Troy, he won the Best Sound Design Award (2005-2006). He was nominated the Best Sound Design in the 16th Hong Kong Drama Award. His recent works include Miracle Kingdom of the Wilderness Creation, Aloha! Summer Fiesta of the Jumbo Kids Theatre, Little Green Warrior and Swan Lake of the Hong Kong Ballet, Love Wanted of The Radiant Theatre, Sing- a- long and If You Love of the Trinity Theatre, The Cat and the Solitary Man of the Theatre Dojo, Emma of The Absolutely Fabulous Theatre Connection, June Lovers of the Hong Kong Arts Festival, Cabaret of The Whole Theatre, Laugh me to the Moon of Kearen Pang Production and etc. Upon his graduation, he has worked with various organizations for sound designing and controlling. He is now a freelance theatre worker.


LAM LAI Composer Born in Hong Kong, Lam Lai has a Master’s Degree from The Hong Kong Academy for Performing Arts. She was a disciple of Law Wing-fai and Clarence Mak, majoring in composition. Her compositions, including orchestral, ensemble, electronic, and multimedia works among others, have been performed in public around the world. Her music and electronic sound works speak with poetic subtlety and insistence. Her work Frozen Moment for synchronising two ensembles in two cites was performed in Berlin’s MaerzMusik Festival 2011 and Hong Kong. She was commissioned by the Hong Kong HellHOT! Festival to compose Antique White for Indian tabla and electronics. Decant Silk, for Zheng and live electronics was performed at Amsterdam’s Atlas Festival and Finland’s Musica Nova Helsinki with Experimentalstudio des SWR (Freiburg) and Atlas Academy (Amsterdam). Frozen Second was selected for the workshop of the Inter-Tertiary Young Composers Platform, and it was performed by Internationale Ensemble Modern Akademie of Frankfurt. She also composes multimedia works. Theatrical-sound-installation work, Optic Light, was premiered at Hong Kong Arts Centre in the series of “Sonic Anchor”. A Lute Song for electronics and video was commissioned and performed by the Wuji Ensemble. She composed Sounds for AFTEC’s Living Arts Series 2012: The Urban/ Jungle Journey.

LEENA LEMPINEN Make-up & Hair Styling Leena Lempinen is an accomplished and creative make-up artist with experience in all aspect of make-up for Beauty, Fashion, Editorials, Film, TV, Stage and Events. She regularly runs make-up and skincare workshops in various establishments. She has been involved with number of stage productions in Hong Kong over the last ten years including AFTEC’s production of The Duchess of Malfi in Dec 2012. She is very much looking forward to being part of the brilliant cast and crew of The Lost World.


OSCAR FUNG Stage Manager Oscar Fung is a freelancer mainly working in stage and theatre production. He has worked with different organizations, like primary and secondary schools, drama company, commercial company and some social welfare institutes, mostly be responsible of the management of technical, production and stage aspects. Oscar Fung holds a B.F.A. with honors in Technical Direction from The Hong Kong Academy for Performing Arts and ever been an intern in the technical departments of New York Artist Unlimited and Macau Zaia.

DIXON SHURA Surtitles Translator Dixon is a graduate of the Hong Kong Baptist University department of English, with a major study in comparative literature and translation. He served the University’s Dramatics Club and acted in two major productions in school time. After writing and co-directing the Club’s 50th Anniversary Production Flickers, he founded Psychic House with his production fellows. He translated Lady Windermere’s Fan (Oscar Wilde) for Choi Hung Drama Association in 2010, and proceeded to work in Africa as an interpreter. During his African stay, he continued to translate two other scripts – The Tell Tale Heart (Edgar Allan Poe) for Psychic House and The Skin of Our Teeth (Thornton Wilder) for AFTEC. His surtitles for AFTEC include Emma (Jane Austen), Great Expectations (Charles Dickens), Duchess of Malfi (John Webster) and The Lost World (Conan Doyle).


Cast List (In order of appearance) Newspaper Boy, Butler, Gomez, Ape-King, Meike Behrmann Understudy of Mrs. Challenger and Pearl Maple White Newspaper Boy, Zambo, Ape-man Chan Chun Hin Editor, Professor Summerlee Michael Sharmon Ed Malone Seth Micah Leslie Mrs. Challenger Candice Moore Professor Challenger Mike Brooks Chairman, Lord Roxton Barry O’Rorke Pearl Maple White Michelle Campbell Jones Indian Liu Ka Lam Puppeteers & Ape-men Leung Hong Yi | Tang Wai Kit Audience & Ape-men Chan Sze Man | Fok Yeung Yeung Leung Hoi Yan | Ma Michelle Julie Tang Ming Yin | Zhang Lifen | Zheng Shiyu Creative & Production Teams Director Producer Production Designer Dinosaur Puppets Sound Designer Composer Make-up & Hair Styling Make-up & Hair Styling Assistant Stage Manager Assistant Stage Manager Stage Crew Wardrobe Supervisor Surtitles Translator AFTEC Administration Team General Manager Project Co-ordinator Project Officer

Dr. Vicki Ooi Lynn Yau Andrew Ritchie Paul Chan Lee Ma Tai Lam Lai Leena Lempinen Nina Tanner Oscar Fung Fan Man Yan Tang Wai Kit Lui King Chun Dixon Shura

Ruby Yong Tini Fong Jacky Chan | Chloe Fan

Support AFTEC


AFTEC is a charity that depends on sponsorship and ticket sales for its operations. Current funding under the LCSD’s Venue Partnership Scheme is only a subsidy and insufficient for us to develop full programmes. We specialise in staging Chinese and English drama productions by the master playwrights. We are also arts educators who develop multi-layered training programmes for young people. Please support our work by donating generously. Any donation or sponsorship over HK$100 is tax deductible. Please make cheques payable to “The Absolutely Fabulous Theatre Connection Co Ltd” and send it to c/o Room C, 9/F, Wah Ha Factory Building, 1069-1073 King’s Road, Quarry Bay. Your donation will be gratefully acknowledged in all our house programmes for the year. Enquiries: 2520 1716

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The Absolutely Fabulous Theatre Connection Co. Ltd. (AFTEC) is the Venue Partner of the Sai Wan Ho Civic Centre. 誇啦啦藝術集匯為西灣河文娛中心場地伙伴。

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