The death of his father brings him back to earth. Did the father leave too early, or did the son come too late? Emotions he once neglected begin to surface and he redefines his views on family, love, friendship and the value of existence.

Plague was sweeping through China.
To summon relief, the Emperor sent
his marshal to seek help from a
Taoist sage. Despite warnings, the
marshal released the 108 demons
during a ceremony, which became
the 108 heroes of our story — or a
new plague to the court.
Years later, these demons became
grown men and women. They
committed crimes of passion, fought
injustice and rebelled against a
corrupted court. Eventually their
wrongdoings brought them together
on Liangshan (Mount Liang), and
this is where our story begins.

How is a play born? What is the difference between truth in life and truth in art? Should an artist be involved with politics? These are the questions Harold Pinter raised in his Nobel speech. The play Being Harold Pinter by Free Theatre begins and ends with a search for the answers to these questions. The basic plot lines of the performance are united by the same problem — the problem of violence in its different manifestations, beginning with violence in the family (The Homecoming, Ashes to Ashes), through violence as a foundation of a social institution (The New World Order, One For The Road) and finally violence as a form of international relationships (Mountain Language). One plot follows another in a linear fashion and abstract characters are gradually substituted by recognisable real ones. Part of the play reflects upon the events which took place in Abu-Ghraib, there are also documentary monologues of political captives from Belarusian prisons.

Recycling Times is a production most apt in this era of the internet, it asks whether too much access to knowledge can be a dangerous thing.

Inspired by the novel Too Loud a Solitude by Czech writer Bohumil Hrabal, this play relates the depressing life of Hank, an intellectual who has spent his last 35 years reading and compressing the pages of banned and intellectual books into paper bales. It is a job he at once loves and loathes. As part of the “New Stage Series” which provides a multi-disciplinary platform for emerging and experienced artists, to meet new challenges and create new and innovative work, writer Harriet Chung and director Ben Yuen cleverly fuse humour and despair for their star Pichead to take audiences on an emotional roller coaster ride.

This fascinating take on a reflective, affecting tale may leave you with more questions than answers but they will certainly be thought-provoking.

Twenty-eight year-old Helen Yuan sees He Kuan again in Hong Kong. That same night, they stay together in the same room until dawn. For He Kuan, the girl in front of him is still the same girl he first met in Shanghai in 2001. He can still remember her telling him about the forsaken creek, in that booming, dazzling city. Similarly for Helen, the 50-year-old He Kuan doesn’t look different from the man in her memory; his appearance hasn’t changed, still handsome. Ten years have passed and there is much they want to say. The room is swirling with suppressed undercurrents. They tread cautiously, casually, inquisitively, suspiciously, hysterically. Helen wants to get closer. He Kuan has no thought of rejecting her. But instead of what should be a natural progression, they instead discover, lurking underneath their relationship, something inside of themselves, and it is tearing them further and further apart.

Three witches decide to meet after an ongoing battle. King Duncan is told that Macbeth was victorious and that the Thane of Cawdor was traitorous to Scotland. The witches confront Macbeth and Banquo predicting that Macbeth will be Thane of Cawdor and King of Scotland, and Banquo will father kings. Ross informs Macbeth that he has inherited the title Thane of Cawdor. Macbeth contemplates the witches’ prediction, and wonders if he should act upon their premonitions. King Duncan names his eldest son, Malcolm, as his heir. At Inverness Castle, Lady Macbeth learns of Macbeth’s encounter with the witches and decides to persuade him to pursue his destiny. On hearing that Duncan is coming to her castle, her decision to murder the King strengthens. She tells Macbeth she will do the deed. Duncan arrives and Macbeth tells his wife he doesn’t want to murder the King. Lady Macbeth talks her husband into framing Duncan’s own guards for the murder

In the morning of a very fine day, Ling is waiting for her childhood neighbour Sammy, whom she has not seen for many years. Ling moved to San José from Hong Kong ten years ago, and has been living in an isolated suburb. She does not mix well with the local Chinese community, and has been longing for visits from old friends like Sammy. Sammy arrives, with a sensitivity and humour very typical of Hong Kong people, she also brings memories and familiar sentiments. This adds some colour to the uneventful and insipid life of Ling and her husband Tang; but the beauty and passion of Sammy also causes pressure and opens up some old wounds. Her visit pushes the already troubled marriage of the couple to the verge of meltdown. This psychological thriller is about a murder, involving three outsiders in an unfamiliar city, that is incited by them exposing each other’s weaknesses and secrets because of suspicion, jealousy and humiliation.

The Threepenny Opera proclaims itself “an
opera for beggars”, and it was in fact an
attempt both to satirise traditional opera and
operetta and to create a new kind of musical
theatre based on the theories of two young
German artists, composer Kurt Weill and
poet-playwright Bertolt Brecht. The show
opens with a mock-Baroque overture, a
nod to Threepenny’s source, The Beggar’s
Opera, a brilliantly successful parody of
Handel’s operas written by John Gay in
1728. The setting is a fair in Soho, London,
just before Queen Victoria’s coronation.

Created by Bausch for the Tanztheater Wuppertal at the height of her power, Carnations is set in a field of 8,000 pink carnations. An unpredictable series of 2011 Hong Kong Arts Festival http://www.hk.artsfestival.org montages are juxtaposed through her signature use of free association: a girl silently wanders through the flowers wearing just an accordion; grown men joyfully bunny-hop around the field under the watchful eyes of Carnations reveals itself as a collection of sinister childhood games, a kaleidoscope of hopes and fears steeped in a Bauschian value of humour, empathy and self-revelation — a fitting tribute to its creator, modern dance‘s first lady Pina Bausch.security guards and patrol dogs…

Momix reMIX is a thrilling reverie which transports the audience to a fantasy world with innovative props, entrancing music, magical lighting and performers of exceptional inventiveness and physical beauty. Known as dance-illusionists, the cast of Momix reMIX defy gravity; performing unimaginable feats with powerful grace, and creating scenes of dream-like splendour.