Tristan and Isolde, Hong Kong City Hall Theatre, 10 March 2018
Tristan - Saburo Teshigawara
Isolde - Rihoko Sato
Teshigawara's take on Wagner's tale of separation and passion as a dance form reminded me the state of calm and clarity in Tai chi. The physical movement followed the music by beginning in a sensual yet still state until reaching the climatic liebestod. Harmony and emotion reservation slowly built into a free and expressive state. Technically it did not aim for an athletic display, but a repetitive process that cultivated an introvert display. In contrast to the opera, Tristan became focus throughout two third of the performance that his desire, illusion and frustration were magnified. Whereas towards the end then Isolde had the stage to her own and no longer merely accompanying Tristan. The differentiation of light and darkness in a surreal setting also created the enigmatic surrounding, and later developed an energy that beyond the oppressive surrounding could hold. These elements made up the beauty and fascination of this production, but would have felt underwhelmed if one was not familiar with the context and struggled to connect.Bosch Dreams, Hong Kong Cultural Centre Grand Theatre, 11 March 2018
Les 7 Doigts
Theatre Republique
This circus production borrowed Hieronymus Bosch's unorthodox and exaggerated paintings, which highlighted religious metaphors and moral concepts, for the inspiration of a multimedia spectacle. There were some breathtaking technical display like the aerial act on a key ring holder, and visual stunning moments such as the kaleidoscope of mixing painting fragments and a pleasure garden filled with red balloons. It also highlighted some fascinating parts with the close up and reference to Dali. Though otherwise it lacked a clear development of story telling and action in most scenes was random with not much going on. There was also a sub plot with the daughter of a professor, a Bosch's specialist but not very inspiring, embarked an adventure in the fantasy. Though often there was no connection between scene changes and fell short from staying focus mostly. The circus part seems tame too and only demonstrated some level of talents than the wow factor. It certainly needed a rethink for better dramaturgy than a colourful appearance.Farewell my concubine (霸王別姬), Hong Kong City Hall Concert Hall, 11 March 2018
Xiang Yu - Yau Sing Po, Law Kar-ying
Han Xin - Leung Siu Ming
Yu Ji - Wan Fei-yin
Xiao He - Yuen Siu-fai
A woman - Lam Po-Chu
Fan Zeng - Sun Kim-long
Fan Kuai - Song Hung-bo
Liu Bang - Liu Kwok-sum
Xiang Bo - Wan Yuk-yu
Despite the title, the actual farewell did not take place until the last scene. Unlike Tristan and Isolde that focused primarily on the emotions and agony of the protagonists, this Cantonese opera adaptation from the same title in Peking opera spent more time on the historical background. The purpose was to use dramatic scenes to keep the audience entertained and even a simplistic teaching of life lessons. First scene told why Han Xin was inspired and motivated to embark a military career; followed by a banquet between rival fractions that involved an attempted but unsuccessful assassination; the third saw Han Xin again and Xiao He persuaded him to stay loyal to his lord Liu Bang; the penultimate was a great battle demonstration and the last saw Yu Ji suicided as Xiang Yu faced ultimate defeat on the battlefield. All these scenes had a focused theme action wise or singing display. There were also sword dance and acrobatic imitation of an energetic horse. Even the music stayed lively and dramatic before turning lyrical in the sentimental last act. The cast had a good mix of veterans and emerging artists, yet one could detect the aged actors had their brief moments of not synchronising with the ensemble, and even some spontaneous make up of the text. The scenography was rather old fashioned with cardboard backdrop, but the exaggerated diction hold the attention throughout. Yet I enjoyed this revisit of cantonese opera thoroughly after not seeing one since the age of five, and the new Xiqu centre opening later this year is eagerly awaited.
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