Welcome to the performance! May it be a journey for us all where time is fluid space vast Like a child’s dream and we meet in it.
歡迎您的到來
願這成為我們所有⼈的⼀回旅程
時間柔軟
打開空間的遼闊 如同孩⼦的夢
我們在當中相逢
I often think of the ancient Greek stage, with its back to the sky and facing the sea, where stories of humanity are told. My city has countless stories!
The small island in Xi Xi's writings is a piece of earth that fell from the sky, perhaps the back of a turtle surfacing from the deep sea; I love such stories. I converse with my deceased father and the extinct rhinoceros, asking: What does non-existence feel like? Why is forgetting so heavy? I love such stories. She possesses a memory palace where she places beautiful things inside to let them live forever; I love such stories.
We all love listening to stories, for they let our imagination fly where logic can sleep, inducing undeniable human emotions in our lives — those feelings and insights compressed within the busy, chaotic social life. Some call it childlike innocence, but I think it is actually our essence, severed from the demands of external life.
A piece of sky, a piece of sea, a story; the pioneering dance master Hijikata Tatsumi inspired his disciples: “Why continue to dance what people can already seen? If we are to dance, we are to dance those things people can’t see with their eyes”. Trying to weigh his disappeared rhino, the team began the creation.
Bonni first approached me in the winter of 2023 with the intention to create a piece together on memory and the city She brought with her a text by Xi Xi titled “港島吾愛” and an image of the last northern white rhino named Sudan. The former chronicles the writer’s grief at the loss of her late father, and the latter reflects the extinction of an entire species. These stories, though divided by geographical continents and generations in time, were brought together when Bonni placed them side-by-side on the table in her Sheung Wan studio, connected by losses equal in both weight and magnitude.
Must I Cry is a patchwork of timelines and stories driven by a desire to remember In the process of writing about a woman returning home to find traces of her late father and the city, the work has come to embody a much more personal quest. Having lived abroad for some years, there is a sense of yearning in returning for both a place to belong to and for a time that is gone, perhaps even one that is before my own So, I seek refuge in stories and archives of the past, trying to find signs and remnants that could be pieced together again
There is a story we kept referring to when devising Must I Cry:
Patricio Guzman’s film, Nostalgia for the Light, features a survivor of Chilean concentration camps under Pinochet’s regime. He was able to memorise and draw to scale an exact recreation of the camps he lived in, yet he had a wife who suffered from Alzheimer’s disease. It seems poetic that in our drive to remember, we must accept the inevitability of forgetting, and maybe there is something beautiful in that
I hope you’ll enjoy a journey in a time tunnel we’ve crafted for you tonight. Thank you Bonni, the Must I Cry Team, my family and friends, it has been a pleasure creating this performance together!
Assistant Lighting Designer/ Light Board Operator/ Production Electrician Hui Wing Yan
Voice Coach Martin McKellen (UK)
Producer Jamie Wu
Production Manager Lawrence Lee
Stage Manager/ Deputy Stage Manager
Fan Man Yan
Assistant Stage Manager Leung Hei Wa
Stage Assistants
Cheung Wa Kin, Roy Lam
Director Assistant Lin JiaBao
Make-up and Hair Styling
Ashley Yeung
Dresser
Jasmine Wong
Surtitle Translation
Pun Siu Fai
Surtitle Operation
Ng Wing Ha
Lighting Assistant
Vanessa Chan
Visual Designer
Terrenz Chang
導演/ 創作/ 演出
陳麗珠
⽂本/ 創作/ 錄像設計
潘⼦懷
⽂本顧問
Liam Hurley（英國）
現場⾳樂/ ⾳樂設計
劉⼦斌
舞台設計
陳鳳儀
服裝設計
鄭⽂榮
燈光設計
劉銘鏗
錄像程式設計
陳家濠
⾳響設計
梁梓楹
助理舞台設計
王梓駿
助理燈光設計/ 燈光控制/ 總電機師
許穎恩
聲⾳指導 Martin McKellen（英國）
監製
胡家欣
製作經理
李浩賢
舞台監督/ 執⾏舞台監督
范⽂恩
助理舞台監督
梁烯樺
舞台助理 張華健、林⼦騫
導演助理 林嘉寶
化妝及髪型
楊詩維
服裝助理
⿈靖雯
字幕翻譯
潘少輝
字幕控制
伍詠霞
燈光助理 陳穎蕾
視覺設計
張惠淳
Theatre du Pif
Theatre du Pif was formed in Scotland in 1992 by Bonni Chan and Sean Curran and for three years, they conducted daily classes, taught professional and community groups and devised productions that toured around the UK and Europe.
In 1995, Theatre du Pif relocated to Hong Kong and became known for its cross-cultural heritage and bilingual productions performing in Cantonese, English or both Often using a workshop and devising process as well as collaborations with dramaturges and artists from other disciplines, the company orchestrates movement, text and visual images to create new productions acclaimed for their power and their poetry
The company has staged plays by a variety of world dramatists including Jean Anouilh, Samuel Beckett, David Harrower, Henrik Ibsen, Sarah Kane, Federico Garcia Lorca, Harold Pinter, Yasmina Reza and Cao Yu. They have collaborated with a number of international theatre directors and artists including Robert Draffin (Australia), Mikel Murfi (Ireland), Adrian Noble (UK), Yang Jun-gung (Korea), Jovanni Sy (Canada) and more
Theatre du Pif has been financially supported by the Hong Kong Arts Development Council
“Theatre du Pif operates at the cutting edge of modern theatre ” –South China Morning Post
“The most Innovative and cross-culturally aware theatre company in Hong Kong.” – Time Out Hong Kong
“Theatre du Pif is one of the Hong Kong’s most innovative performing arts companies ” – Monocle Magazine
Recent productions
2024 Faith Healer by Brain Friel
2023 The Three Sisters by Chekhov (directed by Bonni Chan) Love in the Time of (insirpired by the novel Love in the Time of Cholera by Gabriel García Márquez, directed by Bonni Chan)
2022 Claire (inspired by Swiss dramatist Friedrich Dürrenmatt’s The Visit, directed by Bonni Chan)
2021 Old Times by Harold Pinter (directed by Paul Poon)
2020 Hong Kong Poetica (devised theatre based on Hong Kong literature to explore the world of local poet Leung Ping Kwan (Yasi), directed by Bonni Chan)
Bonni graduated from the Hong Kong Academy of Ballet and went on to study acting at The Hong Kong Academy for Performing Arts, winning the Best Actress of the Year award for three consecutive years.
After graduating, she joined the Hong Kong Repertory Theatre and performed in a number of productions. She moved to London to study with various teachers, and later on founded Theatre du Pif with Sean Curran Since returning to Hong Kong in 1995, she has continued to devise and direct all of Theatre du Pif’s original productions
She won the Best Actress at the Hong Kong Drama Awards for her roles in Fish Heads and Tales – A Tender War as well as The Oak Tree – An Odyssey In 2015 she was again nominated for the Best Actress Award for her portrayal of Hedda Gabler in Adrian Noble’s production of Ibsen’s classic play In 2016, she received an honorary fellowship of The Hong Kong Academy for Performing Arts. The Hong Kong Theatre Libre voted her Best Actress of the Year for her performance in 4.48 Psychosis – A Staged Reading, she also won IATC(HK) Critics Awards’ Performance of the Year, Director of the Year, Performer of the Year and Scenography of the Year for the performance 4 48 Psychosis In 2018, she was nominated for the Best Director in IATC(HK) Critics Awards and The Hong Kong Theatre Libre Award for her directorial work on The Three Sisters by Anton Chekhov. She has been a professional Feldenkrais practitioner since 2001
Tsz Wai Pun is an artist and filmmaker based in Hong Kong. She holds an MFA from the School of Creative Media, Hong Kong and a Bachelor’s Degree in Arts and Sciences from University College London. In her work, she explores the moving image, memory and the passing of time; playing with historical archives and narratives of speculative nature. Her short film, The Years Flow Like Water was awarded Best Work at the Floating Projects Video Zine D-Normal/V-Essay (Issue 3) and Cavity was shown as part of Hong Kong Film Culture Centre’s Arkitecture in Motion film festival. Her mixed media lecture performances were recently showcased at Tai Kwun Contemporary (2024) and Asia Art Archive (2024), including Missing Objects which was previously performed at Unlock Dancing Plaza (2024), WURE Area (2023) and Tomorrow Maybe, Eaton Hong Kong (2022). She was also awarded the Youth Category Special Mention Award at the 18th IFVA awards for her film, Symbiosis.
潘⼦懷，2022年畢業於現⾹港創意媒體學院藝術創作碩⼠課程。她的作品，試圖探索回 憶與時間等主題，在快速、聲影所滲透的時代，她思考靜態的意義，⼜質疑傳統上紀錄⽚ 與虛構敘述的必然分割。她的作品《⽇落照》獲得「據點平地數碼第三期的錄像雜誌」最 佳作品獎項，她的短⽚《Cavity》並在⾹港電影⽂化中⼼舉辦的 Arkitecture in Motion 建築電影節放映。她的演講表演曾在 Tai Kwun Contemporary（2024）和 Asia Art Archive（2024）演出，《遺失聲明》並在不加鎖舞踊館（2024）、WURE Area（2023） 和 Tomorrow Maybe, Eaton Hong Kong（2022）演出。她也曾獲得第18屆IFVA獨⽴短 ⽚及影像媒體⽐賽⻘年組別特別提名。
Live Musician/ Music Designer
現場音樂/ 音樂設計
Lau Chi Bun
劉子斌 a0000000 0bun
Souloaksqueez 擬⾳作樂⼈。
Stage Designer Sylvia Chan
陳鳳儀 舞台設計
Independent art worker. ⾃由藝術⼯作者。
Costume Designer Cheng Man
服裝設計 manwing
Wing
鄭文榮
Cheng graduated from L’Ecole Supérieure des Arts Appliqués Duperré in Paris, L’Université de la Sorbonne in France, and The Somerset College of Arts and Technology in the UK, majoring in fine art textile and fabric printing technology. Cheng explores in the realms of fashion and theatre He has worked for numerous local performing groups as costume designer including: Theatre du Pif, On and On Theatre Workshops, Actors’ Family, Hong Kong Arts Festival, City Contemporary Dance Company, Theatre Horizon, Y-Space and Hong Kong Repertory, etc
主修純藝術織物及布料印花技術。曾先後畢業於巴黎 L'Ecole Supérieure des Arts Appliqués Duperré，L'Université de la Sorbonne及英國The Somerset College of Arts and Technology。熱衷於探索時裝與劇場間的互動關係，⽽為劇場演出設計服裝的 藝團包括進劇場、前進進戲劇⼯作坊、演戲家族、⾹港藝術節、城市當代舞蹈團、天邊外 劇場、多空間及⾹港話劇團等。
Lighting Designer
劉銘鏗 燈光設計
Lau Ming Hang
sunfool lau
Lau Ming Hang is a creator of pop-up book story theaters, paper art artist, and seasoned theater lighting designer For over two decades, Lau has created numerous “pop-up book story theaters,” seamlessly blending pop-up paper art, light and shadow, and the aesthetics of theater performance Some notable works include Ordinary Living, The Good Old Days and Ashy is Everywhere Lau has been nominated multiple times for Best Lighting Design at the Hong Kong Drama Awards In 2024, Lau won the Best Lighting Design award at the 32nd Hong Kong Drama Awards for their work in the Hong Kong Repertory Theatre’s production of Moscow Express His design works include productions such as Three Sisters by Theatre du Pif, Lumination of the Forgotten by the Hong Kong Repertory Theatre, Rebecca Wong dance piece Bird Watching (performed in Hong Kong and Taiwan), and We are for real by No Discipline Limited He curated the Prague Quadrennial of Performance Design and Space (Hong Kong Pavillion) in 2019 and 2023, organizing exhibition events in Prague His paper-cutting artworks have been showcased in exhibitions such as Nian Nian (Solo Exhibition) at the Hsinchu Railway Art Village in Taiwan, TST Story at YMCA The Dooor, Paper Cut Art Exhibition at Artspace K, The Village School Anthem Project: Exhibition Art x Heritage by CACHe, and “JCCAC 15th Anniversary Exhibition 2023 ‘Here I Am!’” at Jockey Club Creative Arts Centre.
⽴體書故事劇場創作⼈、紙藝藝術家及資深劇場燈光設計師。⼆⼗年來創作多個「⽴體書 故事劇場」作品，揉合⽴體藝紙、光影及劇場表演美學，包括《⽇常⽣活》、《回味舊時佮 佮冚》及《⼤家都係 粒塵》等。多次提名⾹港舞台劇獎最佳燈光設計，2024年憑⾹港 話劇團《從⾦鐘到莫斯科》獲第三⼗⼆屆⾹港舞台劇獎最佳燈光設計。設計作品包括進劇 場《三姊妹》、⾹港話劇團《⽩湖映像》、⿈碧琪舞蹈作品《睇 · ⼥》（⾹港及台灣巡演） 及 No Discipline Limited《我們來真的》等。曾為⾹港舞台技術及設計⼈員協會HKATTS 董事會成員，先後於2019及2023年擔任《布拉格劇場設計四年展》策展⼈，遠赴布拉格 策劃展覽活動。剪紙作品曾參與台灣新⽵鐵道藝術村剪紙個展《捏念》、YMCA The Dooor《此地是朵泥》、Artspace K《剪紙 特展》、⻑春社⽂化古蹟資源中⼼《⾹ 校變 奏：時光藝術展》及《JCCAC⼗五週年展覽2023「我在！」》等。
Gary Chan 陳家濠
Graduated from Hong Kong Institute of Vocational Education in Creative Media, Gary currently is a freelance video designer Projection and video designs for the companies including Shu Ning Presentation Unit, DGhouse, Chung Ying Theatre, Cinematic Theatre, Banana Effect, On & On Theatre Workshop, Fong Fron Projet d’ Art, istage, Jumbo Kids Theatre, POP Theatre and City Contemporary Dance Company. Gary has worked on video design in theatre production, using the language and technique of theatre to develop video content He has also created and designed videos for various concerts, performances and programmes.
Graduated from the Hong Kong Academy for Performing Arts (HKAPA), majoring in Sound Design, Leung recent design works include Cost of Living by Hong Kong Federation of Drama Societies; When Lonely Meets Lucky and Stardust Alley by FreeTo-Play; The Damn Technology co-presented by Chung Ying Theatre and HKAPA; The Seagull, Le Malentendu, What the Butler Saw, Meal Ticket 2 0, and Meal Ticket 3 0 by HKAPA; Reflector: OS1 by Theatre Ronin; Can’t pay? Won't pay! by Community Theatre; Forget by Theatrideo; Dig Your Own House by Ken Yip x DollLeLe; The Invincible Light of Hong Kong by AddOil Workshop; independent theatre work Sing Sang Sung, and other shows by Jam Island Theatre, Kwuntong Theatre, and the exhibition The Invalid Evidence of Love Aside from design work, Leung has also been involved in different roles, including being a producer for Meal Ticket 2.0 by HKAPA, a live broadcast and recording engineer for Sunset Concert 2017, a composer for the short film by The Boys’ & Girls’ Association of Hong Kong, and a live musician in various productions.
Jamie Wu is the Company Manager and Producer for Theatre du Pif, she also works as an independent producer, collaborating with various local and international artists and cultural organizations across multiple art forms. In 2017, she was invited to work as an Assistant Producer for the OzAsia Festival at the Adelaide Festival Centre in Australia. As an active participant in international performing arts exchanges, Jamie was a recipient of the 2017 Fellowship from the International Society for the Performing Arts (ISPA), attending its 99th Congress, as well as the Emerging Leadership Institute and Conference organized by the Association of Performing Arts Presenters (APAP) in New York She also took part in the Global Cultural Leadership Programme 2018 in Amsterdam, hosted by the Cultural Diplomacy Platform, and the Producer’s Academy in Brussels, organized by On the Move In recent years, Jamie has focused on exploring various professional tools to enhance personal development and performance. She holds certifications as Personal Fitness and Rehabilitation Trainer, NGH Hypnotist, master practitioner in Neuro-Linguistic Programming (NLP), registered life coach, an Inside Cards Certified Coach, and a Certified Professional Behavioral and Motivators (DISC & MOT) Analyst through TTI Success Insights
進劇場劇團經理及製作⼈，同為獨⽴製作⼈，與不同本地及海外藝術家和藝術機構合作。 2007年亦曾應邀赴澳洲阿得萊德藝術中⼼為澳亞藝術節2017擔任助理監製。胡⽒亦積極 參與國際交港，曾為2017國際表演藝術協會（ISPA）的獎助⾦得主，出席其第99屆會議 及美國表演藝術經紀⼈協會領袖課程。她亦被挑選參加由 Cultural Diplomacy Platform 於荷蘭舉⾏的全球⽂化領袖計劃2018及由 The International Centre for Training in the Performing Arts 及 On the Move 主辦於布魯塞爾舉⾏的製作⼈學院2017。近年，胡⽒ 探索不同的專業⼯具來提⾼個⼈⼼⾝靈發展及表現，她現為 名認證私⼈健⾝及復康教 練、美國NGH催眠師、神經語⾔程式學（NLP）⾼級執⾏師、註冊⽣命教練、!nside Cards 認證教練以及 TTI Success Insights 認證⾏為⾵格與激勵因⼦（DISC & MOT）分 析師。
Lawrence Lee graduated from The Chinese University of Hong Kong, Master of Arts in Cultural Management, and Hong Kong Academy for Performing Arts with BFA (Hons) Degree in Stage Management. Lee was awarded a scholarship by the Jackie Chan Charitable Foundation Scholarship for three consecutive years from 1995 to 1997, and in 1997 also awarded Jackie Chan Charitable Foundation Scholarship (Overseas), leading to an internship in New York as Stage Manager for American Opera Projects Inc. He also won Best Youth Stage Management Award at the Hong Kong Drama Awards in 2001. Lee has worked for numerous local and overseas performing groups as Production Manager, Stage Manager and Deputy Stage Manager, including as Production Manager of various Yam Kim Fai and Pak Suet Sin Charitable Foundation productions - Dream of the West Chamber, Princess Cheung Ping, The Reincarnation of Red Plum and The Butterfly and the Red Pear Blossoms. He was Artist-in-residence in the Hong Kong Academy for Performing Arts Lee has also designed various exhibitions for the Hong Kong Film Archive, Concept Arranger for Eason Chan’s The Easy Ride Concert, and Assistant Director, Set and Costume Designer for Utopia, Momentarily Lee is currently a freelancer, and chairman of The Hong Kong Association of Theatre Technicians & Scenographers (HKATTS).
李⽒先後於⾹港中⽂⼤學取得⽂化管理⽂學碩⼠，以及⾹港演藝學院科藝學院榮譽學位， 主修舞台管理。1995 ⾄ 97 年連續三屆獲得校內成⿓慈善基⾦獎學⾦。1997 年獲成⿓慈 善基⾦獎學⾦（海外訓練），前往美國紐約實習，於 American Opera Projects, Inc. 任舞 台監督，2001 榮獲第⼗屆⾹港舞台劇之「優秀⻘年舞台管理獎」。過去參與多個本地及海 外表演團體之製作經理、舞台監督及執⾏舞台監督，包括任⽩慈善基⾦之西樓錯夢、帝⼥ 花、再世紅梅記及蝶影紅梨記等作品的製作經理。並曾任⾹港演藝學院科藝學院駐院藝術 家。曾為⾹港電影資料館擔任多個展覽設計，陳奕迅《The Easy Ride》演唱會擔任意念 編排，《剎那的烏托邦》擔任助理導演、佈景及服裝設計。李⽒現為⾃由⼯作者及⾹港舞 台技術及設計⼈員協會主席。 Production Manager
On The City Train They Stand
4-6.7.2025 HONG KONG CULTURAL CENTRE STUDIO THEATRE ⾹港⽂化中⼼劇場
A group of women from Tuen Mun, exploring their hopes, fears, dreams, and regrets, first performed in 2003, and they gathered together again to review the changes in their lives after 20 years.
