|Pei Yu||Connie Chan Po-chu|
Li Huiniang /
|Jia Sidao||Yau Sing-po|
|Lu Tong||Liu Kwok-sum|
|Jia Yingzhong||Alan Tam Wing-lun|
|Wu Jiangxian /
|Jia Liner||Chan Wing-kwong|
|Jia Fuer||Ng Lap-hei|
|Huiniang Incarnation||Lo Lai-see|
|Jiang Wanli||Mok Ka-kui|
(In alphabetical order)
|Kali Lam Pui-ka#|
|Premium Jiny So|
|Artistic Director||Pak Suet-sin|
|Script Arrangement||Pak Suet-sin|
|Coordination Consultants||David Chan|
|Assistant Artistic Director||Yuri Ng|
|Artistic Direction||Yee Chung-man|
|Action Choreographer||Han Yanming|
|Percussion Ensemble Leader||Ko Yun-kuen|
|Ensemble Leader||Ko Yun-hung|
|Composer (Interlude segments)||Leon Ko|
|Tiffany Kwok Wing-yan|
|Senior Manager, Technical and Productions||Rae Wu+|
|Manager, Technical and Productions||Fanny Lo+|
|Technical and Productions Assistant||Satina Shum|
|Assistant Producers||Peter Lee+|
|Production Manager||Lawrence Lee|
|Rehearsal Master||Icey Lam|
|Set Designer||Ewing Chan|
|Assistant Set Designers||Isaac Wong|
|Scenery Production||L's Fine Arts Production Limited|
|Lighting Designer||Billy Tang|
|Assistant Lighting Designer||Ivy Wong|
|Lighting Programmer||Jose Ho|
|Light Board Operator||Ip Hiu-tung|
|Production Electrician||Siu Chun-kit|
|Electricians / Follow Spot Operators||Aico Cheung|
|Sound Designer||Candog Ha|
|Mic Operator||Lam Pui|
|Sound Crew||Cfa Leung|
|Video Designer||Dan Fong|
|Video Operator||Johnny Sze|
|Costume Designer & Coordinator||Mandy Tam|
|Wardrobe Supervisor||Gauze Lam|
|Assistant Wardrobe Supervisor||Cheung Doi-yee|
|Wardrobe Assistants||Vanessa Lun|
|Headdress Designer||Ken Tsang|
|Assistant Headdress Designers||Hut Lee|
|Stage Manager||Chow Chun-yin|
|Deputy Stage Manager||Keiko Chan|
|Assistant Stage Managers||Fan Man-yan|
|Stage Crew Supervisor||Ban Chui|
|Stage Crews||Kong Man-him|
|Stage Manager (Prompter)||Martin Cheng|
|Surtitle Operator||Poon Wai-see|
|Wardrobe Supply and Coordination||Kam Yee Costumes Company|
#With the kind permission of the Hong Kong Academy for Performing Arts
+ Staff of West Kowloon Cultural District
^ Interns of West Kowloon Cultural District
Connie Chan Po-chu began her training in Cantonese opera as a child, first studying huadan (female lead) roles. She also received northern school martial arts training with Fen Kuk-fa, who advised her to take on male roles. At the age of eleven her talents were recognised by the Cantonese opera legend Yam Kim-fai. In the early 1960s, Chan’s career focus was on films. After becoming a star in the industry she retired from the limelight in 1970. In 1999 she returned to show business as a stage performer and has since starred in a number of successful drama productions. More recently she has performed in Cantonese opera productions such as The Dream of the Red Chamber, The Reincarnation of Red Plum, The Peony Pavilion and Butterfly Shadow and Red Jasmine Flower.
Mui Suet-see began her career as a dancer in Yam Kim-fai and Pak Suet-sin’s Sin Fung Ming Cantonese Opera Troupe in 1961, and was later chosen to train as one of the young members of the Chor Fung Ming Cantonese Opera Troupe. She made her stage debut in 1963, going on to take the position of huadan (female lead) in 1973. Her repertoire includes the main works of Yam Kim-fai and Pak Suet-sin, both on the Cantonese opera stage and on film. Mui Suet-see has performed lead roles in all of the productions produced by the Yam Kim Fai and Pak Suet Sin Charitable Foundation.
Yau Sing-po began his career in a Cantonese operatic troupe at a young age. He is a versatile artist, commanding a full range of roles. Also a dramatist, he wrote The Dowager Leads Her Army to War and adapted Shakespeare’s King Lear and the Peking opera, Stealing the Imperial Horse, into Cantonese opera productions. Yau was presented with a Best Performing Artist Award (Chinese Opera) by the Hong Kong Artists’ Guild in 1992, and a Medal of Honour by the Hong Kong SAR Government in 2009. In 2016 he was appointed an Honorary Fellow of HKAPA and recognised with an Award for Outstanding Contribution in Arts by the Hong Kong Arts Development Council. In 2017 he received a Bronze Bauhinia Star from the Hong Kong SAR Government.
Experienced actor Liu Kwok-sum was one of the first graduates from the Hong Kong Cantonese Opera Academy under the tutelage of Yam Tai-fan and Wong Yuet-sang. After being recognised in his graduate performance in 1982, he joined the Chor Fung Ming Cantonese Opera Troupe and performed internationally. Since then, Liu Kwok-sum has performed in a number of renowned troupes.
Alan Tam Wing-lun joined the Hong Kong Children and Juvenile Chinese Opera Troupe at the age of three. Since then he has studied foundation and paichang (traditional style) training under a number of teachers, including Cheung Bo-wah, Lui Hung-kwong, Cheung Wing-mui, Ng Cheuk-jung, Fu Yuet-wah and Wang Jialing. He has also studied singing techniques under Lam Kam-tong. In 2013, he was recognised with the Award for Young Artist (Xiqu) by the Hong Kong Arts Development Council. In 2014, he was selected to perform in the Rising Stars in Cantonese Opera Showcase organised by the West Kowloon Cultural District.
Wong Hai-wing holds an Advanced Diploma in Cantonese Opera from The Hong Kong Academy for Performing Arts, and has received coaching in Peking opera, Kunqu and Cantonese opera under Shun Lau, Luo Pinchao, Chen Heping, Wang Fengmei and Zhang Jingxian and others. During her studies, Wong was awarded the Spring-Time Stage Productions Scholarship, the Jackie Chan Charitable Foundation Scholarship and the Chan Po-chu Scholarship for Chinese Traditional Theatre Programme. In 2006 she participated in a xiqu school exchange programme in Beijing. In 2010, Wong was an awardee of the Hong Kong Arts Development Council’s Xiqu New Artists Internship Scheme, and also received a scholarship for further studies. In 2016 she was selected to perform in West Kowloon’s Rising Stars of Cantonese Opera.
Graduated from the Academy of Hong Kong Cantonese Opera, specialising in Dan (female roles). She received her BA Degree (Cultural and Heritage Management) from the City University of Hong Kong and MA Degree (Cultural Management) from the Chinese University of Hong Kong. Besides the tutelages of Wang Wei-ling, Chau Chin-pong and Yeung Lai-hung, Leung has been participating the Yau Ma Tei Theatre Cantonese Opera Young Talent Showcase Scheme since 2013 and performed numbers of plays including The Return of Zhu Bian, Mu Guiying Routing Hongzhou, The Goddess of Lyon River, Sit Dingsan and Fan Leifa. Leung is currently studying for an Advanced Diploma in the School of Chinese Opera at the Hong Kong Academy of Performing Arts.
#With kind permission from the Hong Kong Academy for Performing Arts
Born in 1917, Tong Tik-sang joined the Kok Sin Sing Opera Troupe at a young age and learnt screenplay writing from renowned Cantonese opera playwrights Kong Yu-kau and Fung Chi-fun. By 1949, he was already established on the Cantonese opera scene. The pinnacle of his career was in the 1950s and his masterpieces of this period include Princess Cheung Ping, The Legend of the Purple Hairpin and The Reincarnation of Red Plum for the Sin Fung Ming Opera Troupe. Tong passed away in 1959 and The Reincarnation of Red Plum, which he wrote in 1959, was his last work.
Daughter of famed actor Pak Kui-wing, Pak Suet-sin began her apprenticeship under Sit Gok-sin. She has appeared in many supporting roles with a number of well-known companies, including Kam Tin Fa, Tai Sheung, Yat Yuet Sing and Hung Wan. After joining the Sun Sing Company she met her long-term collaborator Yam Kim-fai. Together they formed the Sin Fung Ming Theatre Company in 1956 and produced numerous works by the late Tong Tik-sang, including The Peony Pavilion, The Butterfly and the Red Pear Blossoms, Princess Cheung Ping, The Legend of the Purple Hairpin and The Reincarnation of Red Plum, making a significant contribution to the history of Cantonese opera.
In the 1960s, Pak and Yam helped establish the Chor Fung Ming Company and Pak devoted herself to the training of a new generation of singer-actors. In 1990, she established the Yam-Pak Charitable Foundation. Pak received an Honorary Fellow from the Hong Kong Academy for Performing Arts in 1996, the Hong Kong Film Awards Lifetime Achievement Award in 2001, Doctor of Letters honoris causa from The University of Hong Kong in 2004, and the Gold Bauhinia Star in 2013.
Naomi Chung joined West Kowloon as Head of Xiqu, Performing Arts in October 2011. Since then she has produced a number of large productions including the West Kowloon Bamboo Theatre (2012, 2013, 2014) and the first Freespace Fest (2012), as well as the Xiqu Centre Seminar Series, Rising Stars of Cantonese Opera, The Ghost Seller & His Butterflies, and the experimental Cantonese opera Farewell My Concubine (New Adaptation) and various cultural exchange programmes in mainland China.
Before joining West Kowloon, Naomi Chung was the Technical Director of Hong Kong productions at the Expo 2010 Shanghai China. She also worked with the Hong Kong Chinese Orchestra for nine years and served as the Head of Programmes & Education from 2001 to 2009.
+ Staff of West Kowloon Cultural District
Photo credit: Jimmy Luk
Born in Hong Kong, Yuri Ng studied classical ballet with Jean Wong and at the National Ballet School in Canada. He was awarded the Adeline Genée Gold Medal from the Royal Academy of Dancing in 1983 before joining The National Ballet of Canada as a dancer. Since his return to Asia in 1993, Ng has choreographed for various performing companies and organisations, including Hong Kong Ballet, City Contemporary Dance Company, Hong Kong Dance Company, Hong Kong Repertory Theatre, Zuni Icosahedron, Hong Kong Sinfonietta, Hong Kong Chinese Orchestra, Edward Lam Dance Theatre, Macao Arts Festival, Cloud Gate 2, Aichi Arts Center. Ng received the Artist of the Year Award (Choreographer) from the Hong Kong Artists’ Guild in 1997, and in 1998 he was awarded Prix d’Auteur at the Rencontres Choreographiques Internationale de Seine-St-Denis (Bagnolet) for Boy Story. Ng received the Distinguished Achievement Award at the Hong Kong Dance Awards 2012 and the Award for Best Artist (Dance) from the Hong Kong Arts Development Council in 2013. His collaborations with the Yam Pak Charitable Foundation include Dream of the West Chamber, Princess Cheung Ping, The Reincarnation of Red Plum and The Butterfly and the Red Pear Blossoms. Ng is currently Co-Artistic Director of the a cappella choral theatre company Yat Po Singers. Recent original theatrical works include the opening performance for Tai Kwun This Victoria Has No Secrets (Director, Choreographer, Stage and Costume Director), and Pica Pica Choose, a collaboration with the Mr Wing Theatre Company in Taiwan (Director, Choreographer).
Cheung Man-wai is Arts Critic for the Cantonese Opera Magazine and the Hong Kong Economic Journal. She has published a number of books, including Chinese Music, Martial King Lan Chi Pat, Appreciation of Tong Tik-sang’s Princess Cheung Ping, Memory and Collection of Yam Kim-fai and Tong Tik-sang, Landscape on the Stage and The Show Begins.
Ko Yun-kuen is the son of Ko Kun, the late renowned Cantonese opera percussion ensemble leader. Ko Yun-kuen entered the profession at the age of seven and at 14 became the percussion ensemble leader of the Tai Lung Fung Cantonese Opera Troupe founded by Mak Bing-wing and Fung Wong-nui. He furthered his on-the-job training under Tam Kwai-wa in various opera troupes. He is the percussion ensemble leader of a number of troupes, including Chor Fung Ming, Hing Fung Ming, Kam Tim Fa, Art of Cantonese Opera, Spring Glory, Golden Blossom and Golden Dragon.
Ko Yun-kuen is also the percussion ensemble leader of a number of Cantonese opera programmes organised by the Leisure and Cultural Services Department and the Hong Kong Arts Festival. He has lectured on the use of gongs and drums in Cantonese opera at the Chinese University of Hong Kong and at The University of Hong Kong’s Department of Music.
The youngest son of the late renowned percussion ensemble leader Ko Kun, Ko Yun-hung is the third generation of a family of Cantonese opera veterans, and a protégé of xiao virtuoso Liu Sum. Ko Yun-hung entered the profession at the age of eight, and debuted in North America aged 12, winning the accolade of “prodigy musician” with his solo suona performance. He became a percussion ensemble leader at the age of 14 and is proficient in several musical instruments. Ko Yun-hung and his wife Tse Hue-ying founded the Hong Kong Xiqu Troupe and the Grand Xi Qu, whose performances have won critical acclaim.
Ko Yun-hung was named Artist of the Year (Xiqu) by the Hong Kong Arts Development Council in 2014, and was presented with a commendation certificate by the Secretary for Home Affairs in 2015. He is the 13th Deputy Managing Director of the Hong Kong Po Fook Tong Cantonese Opera Musicians’ Association and has been a council member of The Chinese Artists Association of Hong Kong for many years.
Leon Ko received a Master’s degree in Musical Theatre Writing from New York University. His musical Heading East won the Richard Rodgers Development Award in the US and his Cantonese musicals The Good Person of Szechwan, Legend of the White Snake, Field of Dreams, The Passage Beyond and Our Immortal Cantata won him six awards, including Best Music and Best Original Music and Lyrics from the Hong Kong Drama Award of Hong Kong Federation of Drama Societies. His music for the film Perhaps Love received Best Original Film Score and Film Music from the Golden Horse Awards, the Hong Kong Film Awards, the Asia-Pacific Film Festival and the Golden Bauhinia Awards. The theme song of the movie The Last Tycoon won Best Original Film Song in the Hong Kong Film Awards. His other film scores include The Warlords, Mr. Cinema, The Great Magician, The Demon Within, Dearest, Insanity and Monster Hunt.
Leon Ko was the Music Director of the Mandarin edition of Jacky Cheung’s musical Snow. Wolf. Lake. and was in charge of the musical sequences of The Year of Jacky Cheung World Tour and the musical theatre of Jacky Cheung ½ Century Tour. He wrote the new overture and interlude for the Yam Kim Fai and Pak Suet Sin Charitable Foundation’s Princess Cheung Ping and The Reincarnation of Red Plum and The Butterfly and the Red Pear Blossoms. In 2011, his musical Takeaway premiered at the Theatre Royal Stratford East in London. In 2014, he wrote music for the play Tonnochy, as well as the musical Sing High to celebrate the 15th anniversary of the Macau Cultural Centre.
Yee Chung-man graduated from the School of Design at the Hong Kong Polytechnic in 1974, and completed studies in Communication Design at the Parsons School of Design in New York in 1977. After working in an advertising agency and interior design company, he started his career in art direction and costume design in 1980. His work includes art direction for The Chinese Ghost Story, Once Upon a Time in China, Comrades: Almost a Love Story, He’s a Woman She’s a Man, Perhaps Love, The Warlords, Shaolin and Flying Swords of Dragon Gate, and costume direction for Curse of the Golden Flower, Confucius and The Great Magician. His credits as director include Anna Magdalena and And I Hate You So.
Born into a family of renowned Peking opera artists, Han Yanming studied as a formal protégé of Zang Erpeng, the son of renowned xiqu actor Gai Jiaotian. He was recognised with a Class One Award at the provincial Chinese Opera Showcase (1980), and the Critics’ Choice at the All China Traditional Theatre Television Grand Prix (1986). In 1990, Han Yanming relocated to Hong Kong, and has since worked as martial arts advisor for several major Cantonese opera troupes.
Han Yanming has worked with a number of theatre legends, including Pei Yan-ling, Yuen Siu-fai, Law Ka-ying, Man Chin-shui, Wai Chun-fai, Lam Kam-tong and Lee Lung. He is the rehearsal master of the Hong Kong Chinese Artists Association, the Hong Kong Young Talent Opera Troupe and the TWGH Lui Yun Choy Memorial School, and also gives private tuition to a number of leading Cantonese opera performers in Hong Kong.
Ewing Chan graduated from the Hong Kong Academy for Performing Arts and completed an Advanced Diploma in Applied Arts at the Technical Arts School of the Hong Kong Academy for Performing Arts in 1996. Before his death in 2014, Chan worked as set designer with a number of local dance and theatre groups. As well as designing the set for The Reincarnation of Red Plum he also worked on several other Cantonese opera stage productions, including Dream of the West Chamber, Princess Cheung Ping and Dream of the Red Chamber.
Billy Tang graduated with a BFA in Theatre Lighting Design from the School of Technical Arts at The Hong Kong Academy for Performing Arts in 1997. Since then he has worked as lighting designer and multimedia designer on over 250 theatre projects and productions by major performing arts groups and his work has been shown around the world. In 2010, together with Leo Cheung and Roy Szeto, Billy Tang established the Luminal Art ensemble, an initiative set up to meet the need for stage lighting design and videography to work as a whole to achieve the best artistic results. The team was recognised with the Best Lighting Design Award from the Hong Kong Federation of Drama Societies for their work on The Hong Kong Repertory Theatre production Faust. Tang also established M Square Design Management in Hong Kong (2004) and M Square Digital Lighting in Taiwan (2012), two high-quality lighting and projection equipment rental services working with major performing arts groups and world-class companies.
Candog Ha is a graduate of the Theatre, Sound and Music Recording Department at HKAPA. She has worked as a sound designer and engineer in drama, dance, concert, musical and multimedia productions. Her recent design works include Sing Out (Best Sound Design at the 27th Hong Kong Drama Awards); Our Immortal Cantata (re-run) for Yat Po Singers (Best Sound Design at the Hong Kong Drama Awards 2016); Wittgenstein and The Rite of Spring for Zuni Icosahedron; and Requiem HK for City Contemporary Dance Company and Yat Po Singers. Other works include Footprints in the Snow for HKREP; The Reincarnation of Red Plum and The Butterfly and Red Pear Blossoms for Yam Kim Fai & Pak Suet Sin Charitable Foundation; Shuraba (nominated for Best Sound Design at the 24th Hong Kong Drama Award) and the Little Hong Kong series for W Theatre; the Hong Kong Jockey Club Contemporary Dance Series (2nd–7th editions) for HKAF and the Hong Kong International A Cappella Festival. She also worked as Sound Consultant for the Macao International Music Festival (2014–2017).
Dan Fong is a graduate of the School of Creative Media at City University of Hong Kong and currently works as a digital visual artist and visual designer. Passionate about visual experiments in various media platforms he has worked with creative groups in different theatre and music fields, including Zuni Icosahedron, Windmill Grass Theatre and W Theatre. His works have also been shown in international events. Since 2010 he has collaborated with a number of major singers and bands on their videos and visual design for concerts, working with artists such as Miriam Yeung, George Lam, Priscilla Chan, Pakho Chau, Hins Cheung, Edmond Leung, Endy Chow, Chochukmo, Joker Xue, Yoga Lin, Hebe Tan, Kay Tse and SHINE. He has also worked as director on a number of music videos, including Ellen Loo’s Darling, Chochukmo’s 8 and tfvsjs’s Shrine of Our Despair.
Freelance theatre costume designer Mandy Tam graduated with a Bachelor of Fine Arts degree in set and costume design from the Hong Kong Academy for Performing Arts, and a Master’s degree in Intercultural Studies from the Chinese University of Hong Kong. Over the course of her career she has designed for more than eighty productions. Her experience in costume design encompasses Chinese and Western opera, dance, drama, musical and physical theatre. She was recognised with the Best Costume Award by the Hong Kong Federation of Drama Societies for the Hong Kong Repertory Theatre production Peach Blossom Fan (2004) and for the New Vision Arts Festival production Hedda Gabler (2015). During the 2007 Prague Quadrennial she was part of the team representing Hong Kong with the Cantonese opera production Dream of the West Chamber. In 2008, she was awarded a scholarship from the Lee Hysan Foundation Fellowship of the Asian Cultural Council for a one-year study trip to New York to learn about a systematic approach to costume conservation.
Ken Tsang has more than a decade’s experience as a headdress designer. He has designed work for a number of Cantonese operas, including Floral Princess (Youth Edition), ArenA, The Peony Pavilion, the experimental Cantonese opera Farewell my Concubine (New Adaptation), as well as for the Italian opera Turandot. In 2014, he was invited by the Yam Kim Fai and Pat Suet Sin Charitable Foundation to design and produce headdresses for The Reincarnation of Red Plum and The Butterfly and the Red Pear Blossoms.
Rae Wu joined West Kowloon in 2013 as Senior Manager, Technical and Production, Performing Arts. He has participated in the design of the Xiqu Centre, Art Park, and Freespace. After majoring in Theatre Sound Design and Music Recording at The Hong Kong Academy for Performing Arts, Rae Wu worked variously as Senior Production Officer (Audio) for the Hong Kong Cultural Centre, Technical Manager of Hong Kong Ocean Park, and Production Manager of Hong Kong Disneyland. He has also worked as technology designer, technical coordinator, and technical director for various stage productions and concerts.
+ Staff of West Kowloon Cultural District
Lawrence Lee graduated from the Hong Kong Academy for Performing Arts with a BFA (Hons) Degree in Stage Management. He received the Jackie Chan Charitable Foundation Scholarship for three consecutive years from 1995 to 1997, which enabled him to complete an internship in New York as a Stage Manager for America Opera Projects (1997). In 2001, he received the Best Youth Stage Management Award at the Hong Kong Drama Awards.
Lee has worked for numerous local and overseas performing groups as Production Manager, Stage Manager and Deputy Stage Manager, most recently working on Joey Yung My Secret Live Concert, Le French May 2018 and the HKYAF musical Melodia. Lee was the Production Manager of the 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 also worked as exhibition designer at the Hong Kong Film Archive, as Concept Arranger for Eason Chan’s The Easy Ride Concert, and Assistant Director, Set and Costume Designer for Utopia, Momentarily. He currently works as a freelancer.
Martin Cheng graduated from the School of Technical Arts at the Hong Kong Academy for Performing Arts with a degree in lighting design. An experienced stage and production manager, he has worked with many Cantonese opera troupes.