Leon Ko received a Master’s degree in Musical Theatre Writing from New York University. His accolades include a Richard Rodgers Development Award in the US for his musical Heading East, as well as Hong Kong Drama Awards for The Good Person of Szechwan, Legend of the White Snake, Field of Dreams, The Passage Beyond, Our Immortal Cantata and Sing Out. In 2011, his musical Takeaway premiered at the Theatre Royal Stratford East in London. Ko has written scores for a number of films, with his music for Perhaps Love winning the Best Original Film Score and Film Music at the Golden Horse Awards, the Hong Kong Film Awards, the Asia-Pacific Film Festival and the Golden Bauhinia Awards. His theme song for The Last Tycoon also earned him a Hong Kong Film Award. Ko collaborated with Hong Kong artist Jacky Cheung as music director for the Mandarin edition of Cheung’s musical Snow. Wolf. Lake., as well as two of Cheung’s concert tours. He has also written overtures and interludes for the Yam Kim Fai and Pak Suet Sin Charitable Foundation Chinese opera productions Princess Chang Ping, The Reincarnation of Red Plum and Shade of Butterfly and Red Pear Blossom.
Chris Shum is a celebrated lyricist with work spanning musicals, plays, movies, television dramas and pop music. With the song Perhaps Love, he won a Best Original Film Song Award at the Golden Horse Awards and a CASH Golden Sail Music Award. He also received a Hong Kong Film Award for Best Original Film Song for the theme song of The Last Tycoon. In 2018, Shum wrote the script and lyrics for Pica Pica Choose, a collaborative production by Mr Wing Theatre Company (Taiwan) and Yat Po Singers (Hong Kong). His other work includes the script and lyrics for This Victoria has no Secrets (Yat Po Singers) and La Cage aux Folles (Hong Kong Repertory Theatre). He also wrote the Cantonese lyrics for the Disney animations The Lion King (2019) and Frozen 2 (2019), as well as lyrics of the soundtrack for Dante Lam’s upcoming film The Rescue. Shum has authored several books on lyric writing and theatre.
Acclaimed scriptwriter, columnist and lyricist, Cheung Fei Fan graduated from the Hong Kong Baptist University’s Academy of Film and produces work across different media, including musicals, theatre and television dramas. Cheung’s work has been recognised with a number of awards, including Best Script at the 2015 Hong Kong Drama Awards for Checkmate and a nomination for Best Script at the 2011 Hong Kong Drama Awards for The Best Wretches.
In 2010, he received the Hong Kong Arts Development Award for Young Artist (Drama). His productions include A Tale of the Southern Sky, Our Time Our Hong Kong, The Passage Beyond, Yokohama Mary and Travel with Mum. Cheung has also worked with RTHK on a number of television dramas including ICAC Investigators and Elite Brigade IV. His work has been shown in Taiwan, mainland China, Singapore, Malaysia and Canada. Cheung is currently the dramaturg at Theatre Space, artistic director at Chasing Culture and a consultant at RTHK. He has also worked with the Hong Kong Repertory Theatre, Actors’ Family and The Nonsensemakers.
Fong Chun Kit graduated from The Hong Kong Academy for Performing Arts in 2010 with a Bachelor of Fine Arts (Honours) Degree, majoring in Directing. His graduate piece Taming of the Shrew won him the academy’s Outstanding Director 2009/2010 Award. In 2017 and 2018, Fong won Best Director (Comedy/Satire) for The Truth from Liar and Sing Out at the Hong Kong Drama Awards. His work Three Men and a Lady, which he wrote, directed and performed, was nominated for Best Script at the Hong Kong Theatre Libre Awards in 2011.
Other work includes Principle (2018), Auspicious Day, Marriage, The Last Supper and Secrets of the 8½th Floor (Hong Kong Repertory Theatre); The Beauty Queen of Leenane (Project Roundabout); Hong Kong Trilogy (Hong Kong Arts Festival); Red Sky (Chung Ying Theatre Company); The Truth from Liar, Sins, Forget Me Not and Monsters (Artocrite Theater); Lysistrata and Taming of the Shrew (The Hong Kong Academy for Performing Arts); and Twelfth Night (tobe THEATRE). His works have toured Taiwan, mainland China and Singapore.
A co-founder of tobe THEATRE, Fong currently also works as a freelance director and actor.
Head of Theatre at the West Kowloon Cultural District, Low Kee Hong has overseen many projects, including the inaugural International Workshop Festival of Theatre; Samson Young’s One or Two Stories, or Both with the Manchester International Festival; and the Theatre of the Senses and Tang Shu-wing’s Our Death Won’t Hurt Anybody with The Grec Festival of Barcelona.
From the summer of 2021, Low will work with Silvia Bottiroli (Artistic Director of DAS Theatre and former Artistic Director of Santarcangelo Festival) to co-curate a new platform at Freespace built around the practice of queering. Re-examining accepted frameworks of identity, power and privilege as a methodology in artistic institutions, the platform will propose a new understanding of curation as an attempt to rehearse and trial the world we would like to live in.
Low’s rich experience in the arts field includes serving as artistic director and general manager of the Singapore Arts Festival (now the Singapore International Festival of Arts), general manager of the Singapore Biennale, and associate artistic director of TheatreWorks (Singapore). A seasoned performer, he toured Europe, Japan, Hong Kong, Australia and Indonesia extensively between 1995 and 2001. His work has garnered a number of awards, including Best Director and Best Set Design at the Straits Times Life Theatre Awards for Balance: Space • Time • Movement, and a Straits Times Life Theatre Award for Best Lighting Design for his lighting work on Checkpoint Theatre’s production of Language of Their Own. Outside theatre, Low researches on cultural policy, urban planning and architecture, performance studies, and Southeast Asian culture and arts, and has been published in journals such as Routledge. He also taught at the National University of Singapore from 1997 to 1999.
Ivanhoe Lam received a diploma in Drama and Dance (Contemporary Dance) from The Hong Kong Academy for Performing Arts and a Bachelor of Fine Arts in Choreography from Codarts Rotterdam. His work spans stage direction, choreography and movement design, and recent productions include Living up to HER, Report i – Which I am I, Pretext Quartet and ODDs. In 2015, he took part in a three-month residency at the Zurich University of the Arts, where he collaborated with ten Swiss artists to curate and create the multidisciplinary performance Odd Couplings. His other productions include Love, Death and Everything in Between and Sing While You Can (Yat Po Singers); Why We Chat and Finding Loveless Land (Edward Lam Dance Theatre); Markus-Passion and Hercules at the Crossroad (Bach im Theater and Sing Fest); and Pride and 1894 Hong Kong Plague – a Musical (Hong Kong Repertory Theatre). His works have toured Shanghai, Guangzhou, Amsterdam, Dusseldorf and Zurich.
Wong Yat Kwan graduated from The Hong Kong Academy for Performing Arts in 2005 and the Royal Welsh College of Music and Drama in 2016. A freelance theatre designer, Wong has worked for major local arts organisations such as Edward Lam Dance Theatre, Hong Kong Repertory Theatre and the Hong Kong Arts Festival. Recent productions include Merrily We Roll Along and The Sea (Royal Welsh College of Music and Drama); About Bill (Just Grand Partnership and Cole Kitchenn); Three Sisters (Royal Central School of Speech and Drama); The Professor and Attempts on her Life (Hong Kong Repertory Theatre); Shuraba (W Theatre); and Finding Loveless Land and Why We Chat (Edward Lam Dance Theatre). Wong has worked as a part-time teacher at the Royal Welsh College of Music and Drama (2012) and was an artist-in-residence at The Hong Kong Academy for Performing Arts in 2014. In 2009 Wong was chief designer on the House 1881 project, turning the Hullett House heritage site (former Hong Kong Marine Police Headquarters) into a boutique hotel. He is currently a lecturer at The Hong Kong Academy for Performing Arts.