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 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 and Actors’ Family.
Fong Chun Kit joined the Hong Kong Repertory Theatre as Resident Director in 2020. He graduated from The Hong Kong Academy for Performing Arts in 2010 with a Bachelor of Fine Arts (Honours) Degree, majoring in Directing. He is a co-founder of tobe THEATRE.
Fong’s graduate piece Taming of the Shrew won him the academy’s Outstanding Director award. His other 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. In 2016, Fong was nominated in the Best Director (Tragedy/Drama) category at the 25th Hong Kong Drama Awards for his work in Marriage. In 2017 and 2018, at the Hong Kong Drama Awards, Fong won Best Director (Comedy/Farce) for The Truth from Liar and Sing Out. He won Best Director at the Hong Kong Theatre Libre Awards for Lysistrata in 2018. In 2019, he was nominated Best Director for Auspicious Day at the Hong Kong Drama Awards and for Marriage (touring) at the 3rd Chinese Theatre Awards.
Fong’s directorial output includes The Impossible Trial – a musical (Hong Kong Repertory Theatre and West Kowloon Cultural District), Principle, Auspicious Day, Marriage, The Last Supper and Secrets of the 81/2th Floor (Hong Kong Repertory Theatre); The Beauty Queen of Leenane (PROJECT ROUNDABOUT); My Very Short Marriage (Dharma Workshop); The Truth from Liar, Sins, Forget Me Not, Monsters and Monsters (re-run) (Artocrite Theater); A Floating Family – A Trilogy (the Hong Kong Arts Festival); Xiyang Zhanshi, Le dieu du carnage (Dionysus Contemporary Theatre); Lysistrata and The Taming of the Shrew (The Hong Kong Academy for Performing Arts); Red Sky (Chung Ying Theatre); Unidentified Human Remains and the True Nature of Love and Avenue Q (Windmill Grass Theatre); The Goat (We Draman Group); Twelfth Night (tobe THEATRE) and With Love William Shakespeare (Theatre Noir).
Low Kee Hong is currently Head of Theatre at the West Kowloon Cultural District. He is responsible for formulating the district’s artistic direction for Contemporary Performance and Theatre. In this role, he created Hong Kong’s first International Workshop Festival of Theatre, an ongoing series on Scenography, a program on dramaturgy, international residencies with Scotland, New Zealand and Australia, new commissions with the Manchester International Festival and GREC Festival Barcelona. Since 2018, he is the co-curator of the Hong Kong International Black Box Festival with Hong Kong Rep.
From the Summer of 2022 at Freespace West Kowloon, Silvia Bottiroli (currently Artistic Director of DAS Theatre and former Artistic Director of Santarcangelo Festival) and Low Kee Hong will co-curate a new platform built around Queering - a practice inspired by theories that re-examines and dismantles accepted frameworks of identity, power and privilege – as a political field and as a methodology: what does it mean to queer our practices? How can we operate within the artistic and cultural field as if it were possible not to be reactionary towards existing positions and protocols? How can curation participate in the creation of our common futures, responding to the needs of the many and supporting the multitudes that are active within civic society? How can we appropriate artistic institutions and transform them into the tools that are needed for a democratic participation in designing the cultural and social dimensions of the arts of the present time? The platform proposes many speculative futures and an understanding of curation as one of the attempts we can make to rehearse and trial the world that 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 The Originals (Hong Kong Sinfonietta); Why We Chat? and Finding Loveless Land (Edward Lam Dance Theatre); 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); Girls in Tears and Girl’s Prayer (Chan Fai-young x Women’s Choir), Karma Chameleon the Concert (Prudence Liew); Sins (Artocrite Theater); 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, the Hague, Utrecht, Dusseldorf and Zurich.
Yatkwan graduated from The Hong Kong Academy for Performing Arts and Royal Welsh College of Music and Drama. For the past decade, Yatkwan have been working as a freelance theatre designer for different major Hong Kong theatre companies such as Edward Lam Dance Theatre, Hong Kong Repertory Theatre, Hong Kong Arts Festival.
Other than theatre design, in 2009 Yatkwan was the chief designer of a boutique hotel design project, 1881 Hullet House. In 2012, he taught at the Royal Welsh College of Music and Drama. In 2014, he was an Artist-in-Residen at the Hong Kong Academy for Performing Arts. He is currently the Lecturer in Theatre Design Department.
His recent productions included "Why We Chat" by Edward Lam Dance Theatre, "Dust and Dawn" by the Hong Kong Academy for Performing Arts, “The Impossible Trial” by West Kowloon Cultural District & Hong Kong Repertory Theatre.