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Artocrite Theater – “Venaissance” Tempted to read
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Tempted to read is a play-reading series featuring a trio of stories that will be staged by Artocrite Theater in the future. The programme gives the audience an exclusive preview of three future productions – Dandelion addicted to Heroin, an original play by Birdy Wong Ching-yan; Wong’s I am Tree inspired by Korean author Han Kang’s award-winning novel The Vegetarian; and Asagao, written by Japanese playwright Tsukuda Norihiko and translated into Cantonese by Anson Lam Pui-lim.
Drawing inspiration from different plants and their distinct qualities, the plays use vegetation as a thematic vehicle to interrogate human nature and raise difficult questions about our existence.
Each play-reading session will be followed by a talk, where a local cultural professional will discuss the play, its connection to the original work and other related cultural topics with the audience.
The play-reading sessions (excluding the talks) will be live-streamed online for free. Details will be announced on Freespace and Artocrite Theater’s social media pages in due course.
Tempted to read is part of “Venaissance”, a major multi-year programme by Artocrite Theater, which will continue into the foreseeable future.
| Date | Time | Programme |
| 11 February 2023 (Saturday) | 3:00pm | Dandelion addicted to Heroin Guest speaker: Andrew Chan Ping-chiu |
| 4 March 2023 (Saturday) | 3:00pm | I am Tree Guest speaker: Wong Hui-ling |
| 11 March 2023 (Saturday) | 3:00pm | Asagao Guest speaker: Yan Pat-to |
Presented by Artocrite Theater
Hong Kong Arts Development Council fully supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council.
Co-presented with Freespace
Project Grant:
"Venaissance" is financially supported by the Arts Capacity Development Funding Scheme of the Government of the Hong Kong Special Administrative Region
The content of this programme does not reflect the views of the Government of the Hong Kong Special Administrative Region
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“Venaissance” Tempted to read: Dandelion addicted to Heroin
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The first instalment of the Tempted to read series by Artocrite Theater presents Dandelion addicted to Heroin. Using the dandelion as a metaphor for marginalised groups, particularly drug addicts, the sobering drama unveils the life and thoughts of those abandoned by society.
Dandelion gets its name from the French word “dent-de-lion”, which means lion tooth. Its extreme resilience helps it survive in pretty much any conditions, so much so that it is often considered an invasive species, a weed that needs to be removed to free space for the more desirable plants.
On the other hand, the word “heroin” originates from “heroisch”, which is German for “hero” – a nod to the fearsome narcotic’s incredible purity, price and power.
This is a story about how dandelions become slaves to heroin, made of a string of vignettes that begin and end in springtime, revealing the day-to-day conversations and interactions taking place in a drug den.
The original play is written by Birdy Wong Ching-yan, the Artistic Director of Artocrite Theater. The play-reading session is directed by Fong Ki-tuen and features Chester Wong Po-shing, Shirley Tsoi Wan-wa, Ally Chiu, Leung Tin-chak and Lau Hiu-wa as cast members.
During the post-session talk, theatre professional Andrew Chan Ping-chiu discusses the play and related cultural topics with the audience.
The play-reading session (excluding the talk) will be live-streamed online for free. Details will be announced on Freespace and Artocrite Theater’s social media pages in due course.
Tempted to read is part of Artocrite Theater’s “Venaissance” project. The play-reading series aims to explore humanity and the human condition through the metaphor of plants. The other two plays featured in the three-part series are I am Tree and Asagao.
Artistic Team:|
Playwright: Birdy Wong Ching-yan
Director: Fong Ki-tuen
Stage Manager: Yuen Kin-man
Performers: Chester Wong Po-shing, Shirley Tsoi Wan-wa, Ally Chiu, Leung Tin-chak, Lau Hiu-wa
Guest speaker: Andrew Chan Ping-chiu
Artistic Director: Birdy Wong Ching-yan
Producer: Coco Tam
Illustrator: Sissy Lam
Graphic designer: Alfie Leung
Presented by Artocrite Theater
Hong Kong Arts Development Council fully supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council.
Co-presented with Freespace
Project Grant:
"Venaissance" is financially supported by the Arts Capacity Development Funding Scheme of the Government of the Hong Kong Special Administrative Region
The content of this programme does not reflect the views of the Government of the Hong Kong Special Administrative Region
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“Venaissance” Tempted to read: I am Tree
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In I am Tree, the second instalment of Tempted to read by Artocrite Theater, a woman’s turn to vegetarianism ends in a hunger strike and self-destruction. The events are recounted by her husband, sister and brother-in-law, but what about her side of the story? In this surreal tale of determination and metamorphosis, the female body becomes the beacon of defiance.
I am Tree is inspired by South Korean author Han Kang’s Man Booker International Prize-winning novel The Vegetarian, written for the stage by Birdy Wong Ching-yan, the Artistic Director of Artocrite Theater. The play-reading session is directed by Fiona Yim and stars Fiona Yim, Hugo Tung, Yo, Au Kai-faat, Karen Chan, and Tsang Wing-shun.
During the post-session talk, cultural educator Wong Hui-ling discusses the script and related cultural topics with the audience.
The play-reading session (excluding the talk) will be live-streamed online for free. Details will be announced on Freespace and Artocrite Theater’s social media pages in due course.
Tempted to read is part of Artocrite Theater’s “Venaissance” project. The play-reading series aims to explore humanity and the human condition through the metaphor of plants. The other two plays featured in the three-part series are Dandelion addicted to Heroin and Asagao.
Artistic Team:
Inspired by The Vegetarian by Han Kang
Playwright: Birdy Wong Ching-yan
Director: Fiona Yim
Assistant Director: Li Siu-tung
Stage Manager: Karman Law
Performers: Fiona Yim, Hugo Tung, Yo, Au Kai-faat, Karen Chan, Tsang Wing-shun
Guest speaker: Wong Hui-ling
Artistic Director: Birdy Wong Ching-yan
Producer: Coco Tam
Illustrator: Sissy Lam
Graphic designer: Alfie Leung
Presented by Artocrite Theater
Hong Kong Arts Development Council fully supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council.
Co-presented with Freespace
Project Grant:
"Venaissance" is financially supported by the Arts Capacity Development Funding Scheme of the Government of the Hong Kong Special Administrative Region
The content of this programme does not reflect the views of the Government of the Hong Kong Special Administrative Region
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“Venaissance” Tempted to read: Asagao
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The third and final part of Tempted to read by Artocrite Theater presents Asagao. On a cold, winter afternoon, a man returns from a six-month business trip to an empty home overgrown with morning glory vines, while his wife and daughter are nowhere to be found. Over the following days, he is visited by a real estate agent, a psychic, a mysterious man claiming to be his daughter, and his wife’s ex-husband, all of whom have rumours and secrets to divulge. What happened to this once-ordinary household? And what’s hidden inside that sealed shut cabinet?
Asagao is written by the Japanese playwright Tsukuda Norihiko and translated into Cantonese by Anson Lam Pui-lim. The play-reading session is directed by Kingston Lo, featuring cast members Wong Ka-chun, Coco Lui and Cheung Chun-man.
During the post-session talk, theatre worker Yan Pat-to discusses the original play, the translation and related cultural topics with the audience.
The play-reading session (excluding the talk) will be live-streamed online for free. Details will be announced on Freespace and Artocrite Theater’s social media pages in due course.
Tempted to read is part of Artocrite Theater’s “Venaissance” project. The play-reading series aims to explore humanity and the human condition through the metaphor of plants. The other two plays featured in the three-part series are Dandelion addicted to Heroin and I am Tree.
Artistic Team:
Playwright: Tsukuda Norihiko
Translator: Anson Lam Pui-lim
Director: Kingston Lo
Stage Manager: Tai Tsoi-sin
Performers: Wong Ka-chun, Coco Lui, Cheung Chun-man
Guest speaker: Yan Pat-to
Artistic Director: Birdy Wong Ching-yan
Producer: Coco Tam
Illustrator: Sissy Lam
Graphic designer: Alfie Leung
Presented by Artocrite Theater
Hong Kong Arts Development Council fully supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council.
Co-presented with Freespace
Project Grant:
"Venaissance" is financially supported by the Arts Capacity Development Funding Scheme of the Government of the Hong Kong Special Administrative Region
The content of this programme does not reflect the views of the Government of the Hong Kong Special Administrative Region
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Freespace x Edward Lam Dance Theatre: Hard Times (Work-in-progress)
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Stage director Edward Lam enlists award-winning screen veteran Elaine Jin Yam-ling and musical theatre stars Margaret Cheung and Jordan Cheng for a highly experimental work of theatre that explores loss and longing.
Each playing a version of themselves, the three performers sing, act and interact with an invisible fourth “character” — the final missing piece at the core of the story that stirs nostalgia, intimacy and bittersweet emotions.
In hard times, we are constantly reminded of the people or things that are missing from our lives, and find ourselves asking, “How do I live without you?” Through a series of classic songs and personal stories, Hard Times hopes to offer a sense of solidarity and catharsis for those still waiting for reunion, for recovery, or for a new start as we slowly come out of the shadow of a global pandemic.
Lam’s latest artistic exercise is a site-specific work customised for The Room, which incorporates the venue’s unique features into the conceptualisation and content of the experience. The acclaimed theatre-maker also collaborated with the performers in exploring an innovative form of theatre that combines singing and acting, while introducing to the audience a new way of participation.
This work-in-progress invites both its creators and viewers to step out of their comfort zone, and together immerse themselves in the creative process of an audacious future work that’s taking shape right in front of their eyes. The finished production of Hard Times is expected to officially open in the autumn of 2023. More detail will follow in the coming months.
Artistic Team:
Director: Edward Lam
Performers: Elaine Jin Yam-ling, Margaret Cheung, Jordan Cheng
Dramaturg: Hsu Yen-mei
Creative Coordinator: Ho Ting-wai
Music Director: Jordan Cheng
Sound and Music Designer: Chung Chak-ming
Scenography: Jonathan Wong*
Lighting Designer: Au Yeung Hon-ki
Art Director and Image Designer: Kary Kwok
Video Director and Editor: Darwin Ng
Production Manager: Joyi Tsang
Project Coordinators: Tiffy Lau#, Meredith Wong#
Deputy Producer: Franco Yau#
Producers: Lai Siu-fai, Bobo Lee#
#Staff of West Kowloon Cultural District
*Appearance by kind permission of The Hong Kong Academy for Performing Arts
Co-presented and co-produced by:
Freespace and Edward Lam Dance Theatre
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Freespace x HKRep Panasonic proudly sponsors The Impossible Trial – a musical
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(Update on 26 September) Performances Cancelled: For epidemic-related reasons, the performances of “The Impossible Trial – a musical” from 27 September to 1 October 2022 (Tuesday to Sunday) at 7:45pm are cancelled. For more information please see our Ticketing Arrangements page or contact us at (852) 2200 0022, ticketinfo@wkcda.hk.
First Three Performances Cancelled: As one of the cast members is required to follow the anti-pandemic guidelines and undergo quarantine, the performances of “The Impossible Trial – a musical” on 9 and 11 September 2022 (Friday and Sunday) at 7:45pm, and on 12 September 2022 (Monday) at 2:45pm have are cancelled. For more information please see our Ticketing Arrangements page or contact us at (852) 2200 0022, ticketinfo@wkcda.hk.
In a world of injustice, wrong is right and right is wrong
Fong Tong Geng, Guangdong’s most prominent advocate, is known for his greed and malice. But at the height of his career heaven deals him a blow and his reputation and wealth are lost overnight. Haunted by the bitter ghost of a childhood friend, Fong fights his way back to the magistrate to right his wrongs and redeem himself as the champion of the common man.
The Impossible Trial – a musical is commissioned by Freespace, co-presented and co-produced with HKRep. The preview run in 2019 received critical acclaim. Since then, the creative team has devoted time and energy in crafting the fully-fledged production. The world premiere of The Impossible Trial is poised to breathe new life into local original musicals.
“Told through the beautiful songs of golden songwriting duo Leon Ko and Chris Shum, Cheung Fei Fan’s story is unusually effective and captivating – a treat for the eyes and the ears!”
── Rupert Chan, Hong Kong Economic Journal
“The Great Pretender (The Impossible Trial) is a major original musical that brings together Hong Kong’s top creative minds and performers. With music by Leon Ko, lyrics by Chris Shum and Cheung Fei Fan’s script developed over three years, we can expect a great production.”
── Kearen Pang, Performing Artist / Creator
“Carefully written and beautifully constructed, The Great Pretender (now known as The Impossible Trial) blends reason, sentiment and complex character relationships. Powerfully dramatic and highly entertaining, the storyline is both logical and unexpected.”
── Sunny Chan, Film writer / Director
Creative Team:
Composer and Musical Director: Leon Ko
Lyricist: Chris Shum
Playwright: Cheung Fei Fan
Director: Fong Chun Kit
Staging Director and Choreographer: Ivanhoe Lam
Scenographer: Wong Yat Kwan*
Dramaturg: Low Kee Hong
Co-choreographer: Lim Wei Wei
Band Leader: Anna Lo
Singing Coach: Lianna Tse
Set Designer: Bill Cheung
Costume Designer: Vanessa Suen Wing Kwan
Lighting Designer: Yeung Tsz Yan
Sound Designer: Can Ha
Cast: Lau Shau Ching, Jordan Cheng, Tunes Ting, Clinton Zhang, Rick Lau, Yau Ting Fai, Fung Chi Yau, Man Sui Hing, Kiki Cheung, ManMan Kwok, Vivian Chan, Adam Tang, Rick Cheung, Christopher Ying, Olga Chung
*Appearance by kind permission of The Hong Kong Academy for Performing Arts
Title Sponsor:
24 September 2022 (Saturday) Charity Performance sponsored by:
29 September 2022 (Thursday) Charity Performance sponsored by:
25 September 2022 (Sunday) Community Performance sponsored by:
This musical is an accredited event celebrating the 25th Anniversary of the establishment of the Hong Kong Special Administrative Region.
Commissioned, Co-presented and Co-produced by Freespace
Co-presented and Co-produced by:
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(As published in the house programme for the 2019 preview performance)
The Great Pretender is a project involving ten years of gestation, three years of development, one year of rehearsals, and three hours of performance.
After the curtain falls tonight, The Great Pretender will continue to evolve until its official opening in 2020 and, perhaps, also for the decade after that.
The Great Pretender is an unprecedented experiment in Hong Kong in terms of its subject matter, creation and preparation length – which composer Leon Ko has described as a “luxury”. Having spent years on the work, the team follows the tradition of mainstream theatre in the UK and US of staging previews before the official premiere in order to collect audience feedback.
American and British mainstream musicals often take years to develop. These shows may have a lifespan that continues decades after the official launch. “I would like to explore whether it is possible for a Hong Kong musical to follow this tradition. This is a new challenge for us and the local theatre,” said lyricist Chris Shum.
A Much-Needed Luxury
Chris Shum realised the challenge of putting on a musical with Qing dynasty background, courtroom scenes and a detective plot. “It’s not a common theme for this genre. But that’s what made it interesting. The dialogues in the scenes contain a lot of information about the case, including the time, place and people involved. It wasn’t easy to write the lyrics.”
According to composer Leon Ko, “The difficulty lies in the proportion of stage dialogues to songs. It was only after I had written some music for the show and felt comfortable with it that I agreed to take on the project.”
The musical was also a challenge for the playwright and director. After the first draft, the script went through over 13 rounds of revision. Cheung Fei Fan, playwright, said jokingly, “The revisions were perpetual, especially for the courtroom scenes. There couldn’t be any loopholes in the plot.”
Having the time and space to explore seemed like a luxury for the creative team, but it was, in fact, essential.
Leon Ko and Chris Shum are a golden duo in the Hong Kong musical sphere. One of their works, The Passage Beyond, has won several awards. But as Ko explained, “Many of our previous works were done in a rush. I once wrote 20 songs in half a year. I managed to finish them, but didn’t have time to go back and revise them. One time the songs weren’t even completed the day before rehearsal. Now that we have time to complete all the songs before readings, we can focus not just on the melodies, but on the roles and functions of each song, the ideas, as well as how the lyrics help to heighten the drama.”
Music and Script Working as One
According to director Fong Chun Kit, the soul of a musical is the music. “Music has to come first, its rhythm leads the entire show. Even if the script is ready during rehearsals, without music, actors will lose the rhythm.” Yet, due to the lack of resources in Hong Kong, the schedules for musical productions are often so tight that the songs aren’t completed before rehearsals.
“It’s a luxury if you have a year,” said Leon Ko. “I usually ask for a year to prepare and conceive the music. Then I start writing intensively in the following six months. When West Kowloon commissioned this project it was given the time it needed. They agreed that time is the most important thing and that a preview was necessary. This time, all the songs have been composed before the reading session. There’s time to make revisions – minor ones or more substantial ones.”
Over the past three years, the creative team have made some painful decisions when refining the work. For example, Ko and Shum had written a trio which was revised into a different form. “We were both happy with it, but we realised that it didn’t fit, so we let go of it,” said Chris Shum. Leon Ko added with a wry smile, “You can’t be unwilling to let go, even though it is your own hard work. The music should serve the musical, not your own ego.”
Music and script need to work as one, and improvements require time. “The script has improved a lot since day one. It wouldn’t have gone through so many rounds of revision if there hadn’t been time for the entire team to be part of the process,” said Shum.
Given the nature of musicals, the storyline can’t be too complicated. However, in The Great Pretender, there is a lot of information and the plot needs to be flawless. As Shum said, “It’s easy to leave loopholes when you’re writing detective stories. We managed to avoid them because we were given enough time.”
Through the revisions, the characters became more vivid and complete. “As the plot progresses, the characters learn and grow from their experiences. The more the audience knows about the characters, the more engaged they are,” said playwright Cheung Fei Fan. During readings, the actors asked about the characters’ experiences and interactions that weren’t detailed in the script. “Why does this character feel like that? What leads to this sudden change of emotion?” This was important in shaping the characters’ personalities.
Musicals Emphasise Rhythm and Accuracy
The production period of musicals in Hong Kong usually spans a year. Yet, the creative team of The Great Pretender was given three years to compose the music and lyrics, and two years to write the script.
“Although I could verbally explain the story to the actors,” said director Fong Chun Kit, “I’d need to listen to the songs to get the feel of the music, rhythm, tempo and melody, in order to be sure where to place the actors. Leon’s songs are meticulous and detailed. Sometimes there is a common melody running through some of the songs to represent the journey of a character. To direct well, I have to know these details.” The biggest challenge of presenting a musical is that actors need to be familiar with the songs, dances, moves, and their stage positions. In this project, there was enough time for rehearsals.
“The number of bars in a song will determine the rhythm of that particular scene,” explained Fong Chun Kit. The actors’ movements have to follow the music. That’s why stage directions are needed. It is only through failures and rehearsals that the actors can get them right. Say, for example, there are ten people in a scene, they all have to coordinate their movements, because it’d be distracting even if just one of them misses a step. In plays there’s room for improvisation, but musicals have to be precise. A musical involves acting, dancing and singing. One needs to be well-practiced in order not to make mistakes.”
Feedback from the Audience Provides Motivation for Perfection
“As the director,” said Fong Chun Kit, “I sometimes sit at the back of the stalls to watch the audience’s reaction. Things that seemed natural to me may not be received the same way by the audience. Their feedback means a great deal. I find new motivation every time I join the post-performance discussions. Musicals are a collaborative effort involving lots of back and forth, and it’s only through discussion that a work can improve. By inspiring each other, we hope to refine the songs and script, and shape the best version of the work we can.”
Text by Hilary Wong
English translation by Flora Chung
Co-presented and Co-produced by:
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Hong Kong Repertory Theatre: Confrontations
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Extra tickets have been added due to popular demand.
Please note, in the event that the seating capacity is reduced to follow the latest COVID-19 measures, those who have purchased these extra tickets may be denied entry. Other entry and seating arrangements may also be affected. Further details of such arrangements will be announced on the West Kowloon and Hong Kong Repertory Theatre websites.
Poon Wai-sum pens and directs alleged black comedy
Some say she’s a centurion. Having lived alone for years, she announces her self-exile on her proclaimed 100th birthday, when she plans to move from month to month to the homes of her three children until the day she can no longer walk, where she’ll stay put until she meets her Maker.
Her three children all suffer from their own family strife and personal problems. When they hear their mother’s new strategic plan, they are all at a loss. This is the last straw in their beleaguered existence. Will they survive this test?
Following The Diary of Song, Poon Wai-sum returns to the HKRep in a new show of his dexterity as playwright and director, bringing to the stage the love and sorrow of a multigenerational family. HKRep veteran Chow Chi-fai appears en travesti as the matriarch, elevating Poon’s fantastic theatre aesthetics to another level.
Playwright and Director Poon Wai-sum will join a post-performance sharing in performances on 25 September 2022 (Sunday) and 1 October 2022 (Saturday).
Playwright and Director:
Poon Wai-sum
Playwright and Director: Poon Wai-sum
Scenographer: Moon Yip
Light and Live Cinema Designer: Fung Kwok Kee Gabriel
Costume Designer: Yuen Hon Wai
Composer & Sound Designer: Wei Fangxia
Movement Designer: Ata Wong*
Cast: Chow Chi-fai, Ko Hon-man, Mercy Wong, Chris Sun, Wong Hiu-yee, Poon Tai-ming, Trickle Choi, Luk Ka-ki, Chan Kiu, Dee To
*With the kind permission of Théâtre de la Feuille
Presented by Hong Kong Repertory Theatre
Co-presented with Freespace
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Presence
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An original interactive online experience, Presence explores the performance potential of telepresence techniques through live performance, installation, game control programming and first-person game play.
Participating remotely through a specially developed online platform, the audience are “telepresent” in the performance through camera-equipped robotic cars – self-operated physical avatars – that enable them to see, hear and interact in real time with real performers in a real space.
About the Future of Performance series
In 2020, Freespace commissioned three teams of young local artists to explore the future of contemporary theatre and performance through innovative new creations. These collaborations evolved into three new works: A Thousand Plateaus (2021), Bright Day (2022) and Presence (2023).
Creative Team:
Programming: Ivor Houlker
Mechatronics: Kenny Wong Chi-chuen
Producer: Michelle Li
The Programme is part of “Creative Tomorrow” exclusively sponsored by
The Hong Kong Jockey Club.
Exclusive Sponsor:
Presented by Freespace
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Future of Performance: Bright Day
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Part of the Future of Performance series, the experimental participatory experience Bright Day invites the audience to be central participants in a co-created waking dream. Over a period of a week, trans-disciplinary artists Chan Kwun-fee, Fiona Lee and AK Kan collaborate with audience-participants on a two-part exploratory journey that delves into the city’s collective unconscious.
The first part of the journey, “Dreaming Alone”, is conducted by audience-participants individually at home. The second part, “Dreaming Together”, involves a communal experience – part dream, part waking reality – in a constructed environment of soundscapes and imagery. This part takes place at Freespace and can only be conducted during daylight hours.
Notes on the Production
The two-part experience requires active participation by audience-participants.
Part 1: Dreaming Alone
The individual part of the experience takes place over seven days at your home. Please collect a “Dream Kit” at the Xiqu Centre ticket office between 25 October and 27 November 2022, and complete the seven-day guided dream practice before the group part of the experience at Freespace. If you are unable to collect the Dream Kit before the event at Freespace, you may also collect it from us on the day and conduct the individual experience afterwards.
Xiqu Centre ticket office opening hours: 10:00am–9:00pm daily
Part 2: Dreaming Together
The group part of the experience takes place in The Room at Freespace according to the date and time selected.
Artistic Concept
Ghosts and memories are everywhere. If night-time experiences occur during the day, are we dreaming or awake? Channelling the collective dreams of the people of this city, we create an urban collective unconscious – a shared experience beyond waking, beyond dreams.
About the Future of Performance series
In 2020, Freespace commissioned three teams of young local artists to explore the future of contemporary theatre and performance through innovative new creations. These collaborations evolved into three new works: A Thousand Plateaus, Bright Day and Presence.
Creative Team:
Co-creators: Chan Kwun-fee, Fiona Lee, AK Kan
Live Performance: Ho Ming-yan, Paula Wong Po-na#
Video Performance: Sung Boon-ho
Video: Natalie Lo Lai-lai
Lighting Designer: Wong Ka-ki
Video Projection Designer: Yu Ka-ming
Deputy Set Designer: Tiffany Lau
Creative Co-ordinators: Thomas Yau*, Maurice Yim
Project Co-ordinator: Meredith Wong*
Project Assistant: Charlotte Man
Assistant Producer: Franco Yau*
Producer: Bobo Lee*
* Staff of West Kowloon Cultural District
# Appearance by kind permission of Unlock Dancing Plaza
The Programme is part of “Creative Tomorrow” exclusively sponsored by
The Hong Kong Jockey Club.
Exclusive Sponsor:
Presented by Freespace
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