RooftopProductions

The use of projection in the work has significantly improved compared to the premiere, demonstrating a commitment to refinement, with carefully designed and accurate camera angles. Additionally, the performance makes effective use of the West Kowloon Cultural District's environment. For instance, during a mid-performance segment, actors take cameras and walk out of the theater to the West Kowloon waterfront, incorporating the views of Victoria Harbour into the performance, which adds both a sense of authenticity and artistic depth to the work.

Rooftop Productions, a pioneer in local arts technology development, was established in 2014. It gives novel and unique performances, and has proved the possibility of online theatrical performances during the pandemic. The duo often travels overseas for exchange and performances, introducing techniques and creative methods of independent theatres to the local productions. The group addresses social issues and refreshing topics through drama and continues to promote and explore alternative theatre. Their works are worthy of expectation with their edge in the growing trend of arts technology.

This work delves into the living conditions of ethnic minorities, using rich and sophisticated theatrical techniques to discuss issues of important social and cultural significance. The flexible interplay of singing and puppetry, projection and image processing create a meaty texture that balances rationality and sensibility, strategically allowing the audience to immerse in the work and to reflect. The director’s demonstration of the three concepts of integration, inclusion and assimilation by comparing three cups of dairy drinks, is concrete and powerful. At the end, when an actor complains that he cannot return home because of the social unrest, a group of South Asian friends relay the translation, effortlessly clarifying the theme of harmony.

Although constructed through “native methods” in a small studio space, the set is comparable to those on international stages. Aesthetically thoughtful, the materials look simple, but a superb balance is achieved through combining technology and the aesthetics of puppetry. The work displays a “rough aesthetics” that is rare in Hong Kong and even on the world stage. Precision is not the aim of the performance, but it is effective and the aesthetic concept is complete. The use of live music and video projection is quite good, and the deliberate use of rough stage design is also very much in line with the content of the show itself.

The work carries a double meaning: first, it “twists” or reinterprets Shakespeare’s plays; second, it uses music and opera as a way to understand and perform them. The fusion of Western musical theatre with the rhythms and cadences of Canton opera is handled with great finesse, demanding an exceptionally high level of overall rhythmic control from the performers. The production incorporates a rich variety of vocal narratives, constructing the text through singing, voice work, and musical accompaniment, with the actors delivering vivid and precise performances.

The work conveys a clear message, reflecting the young actors' aspirations for the future and their responses to the current environment in Hong Kong. The various presentations are perfectly executed, allowing the audience to feel their hopes. The premiere describes the worries of young actors about graduating and entering society, characterized more by "naivety" than "experience"; the subsequent performance leans more towards "experience" than "naivety." Although this version is more "worldly," it still retains the essence of youth, capturing the emotions of today's young people.

This performance and co-production with HKAPA presents a masterful merging of different media to enhance its own performativity. HKAPA students. The projection serves as an extraordinary storytelling device where the visuals can be projected from different angles. More importantly, it echoes the dramatic unfolding and the atmosphere in the theatre, while it stimulates the audience’s thinking with stunning visuals. The multi-dimensional use of space complements the different media featured onstage and creates an imaginative realm in the studio theatre.

The scenography is impressive, achieving in a small black box theatre an energetic ambience reminiscent of that of a concert at the Hong Kong Coliseum. The interaction between the projections and the actors feels dynamic and fluid; it creates rich and unified audiovisual effects that immerse the audience in the work, inviting them to reflect on the ethical questions raised in the play.

This work revolves around an interesting concept, borrowing from Greek tragedies and combining them with the actors’ personal experiences in responding to different topics. The production is impressive in its format, as it successfully merges different elements such as music, shadow play and video. It is a pulsating performance, and the lighting and visuals are also excellent.