Ontroerend Goed—Handle with Care_Eng version- 54th Hong Kong Arts Festival

The Jockey Club Studio Theatre, Fringe Club Each session lasts approximately one hour without interruption

English and Chinese versions are available at different timeslots

The instructions for the Chinese version are written in Traditional Chinese characters. Instructions in Simplified Chinese characters will be available upon request during the performance. Some of the Chinese instructions will be spoken by participants. A printed version of the spoken text will be available if you cannot understand Cantonese or Putonghua

Free seating. Participants are expected to come on stage to participate in the performance

Admission of latecomers and re-admission of audience members who leave the auditorium during the performance will not be permitted

House Rules

※ Please switch off mobile phones and all electronic devices so they will not emit sound or light during the performance, disturbing the performers and other audience members.

※ Unauthorised photography or recording of any kind is strictly prohibited.

※ Please keep noise to a minimum during the performance.

※ The content of all works is independently produced by the creative team, and does not reflect the views or opinions of the Sponsor.

※ The content of this programme and the opinions featured in this publication are solely those of the artists/guest writers and do not represent the views or opinions of the Hong Kong Arts Festival (“HKAF”).

※ No refunds or changes will be offered if ticket holders are refused admission due to late arrival. In the event of any dispute, the HKAF reserves all rights to make the final decision.

※ The English version of the house rules on the HKAF website and front-of-house announcements will prevail in the event of any dispute.

Contents

Chief Executive’s Message

Chairman’s Message

Foreword

Creative & Production Team

About Handle With Care

Interview About Ontroerend Goed

Creative Team Profiles

Co-Production List

About the Hong Kong Arts Festival

Committee & Staff List

Acknowledgements

Chief Executive’s Message

I am pleased to congratulate the Hong Kong Arts Festival on the organisation of its 2026 season. This year’s Festival, the 54th edition, features some 180 performances, encompassing music, Chinese and Western opera, theatre, dance, arts technology and a dazzling variety of performing arts productions.

The Festival opens on 27 February with Ballet Nacional de España’s acclaimed operatic ballet La Bella Otero , recreating the glamour of Paris’ golden era on stage. The Festival concludes on 27 March with the large-scale dance theatre production DreaminThePeonyPavilion , directed and choreographed by Li Xing, injecting fresh life into the timeless love classic. This year’s music performances present a number of brilliant pianists, including young Korean piano sensation Yunchan Lim, and Hong Kong-born Aristo Sham, the gold medallist and audience award winner at the 2025 Van Cliburn International Piano Competition.

As ever, the Festival features a diverse range of outreach and educational activities. This year’s PLUS programme focuses on a wide cultural experience for arts lovers and deeper understanding of world-class artists, contributing to promoting engagement in cultural events and consolidating Hong Kong’s positioning as the East-meets-West centre for international cultural exchange.

I am grateful to our many sponsors and donors for their generous support. My thanks also, as always, go to the Hong Kong Arts Festival for once again bringing Hong Kong, and the world, a shining season of arts and culture, entertainment and wonder.

John KC LEE Chief Executive Hong Kong Special Administrative Region

Chairman’s Message

A warm welcome to the 54th Hong Kong Arts Festival. As a leading international performing arts event, the Festival continues to uphold its mission of enriching our city’s cultural life and promoting the best of the performing arts to different sectors of our community. This year, the Festival brings to Hong Kong more than 1,100 distinguished local and international artists from a wide range of artistic disciplines in over 180 performances of more than 45 programmes, as well as about 300 “PLUS”, outreach and education events.

I would like to express my sincere gratitude to the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention and matching grant. My heartfelt thanks also go out to The Hong Kong Jockey Club Charities Trust, our corporate sponsors, charitable foundations and donors for their generous support. Their invaluable contributions empower us to actively advance the community through the performing arts.

My genuine appreciation goes to all our internationally renowned and most talented artists for their creativity and outstanding performances on stage. Their dedication profoundly motivates us to continue showcasing exceptional productions, commissioning new works and nurturing local talent. I am also deeply grateful to the HKAF team for its commitment and efforts to bring this Festival to life.

Finally, I extend my warmest thanks to all audience members. We truly hope you enjoy this artistic journey and discover moments of delight, resonance and inspiration throughout the programmes being presented this year.

Lo Kingman C hairman Hong Kong Arts Festival

The 54th Hong Kong Arts Festival once again brings together great masters and outstanding artists, presenting more than 180 performances across music, dance, theatre, opera, Chinese opera, arts-tech and interdisciplinary creations—showcasing the exceptional craft of leading local and international talent.

One of this year’s themes is an exploration of “Courage and Peace”. At a time when the world is troubled by war, displacement, economic downturns and other hardships, artists respond from their own distinctive perspectives and in their own languages on stage, reminding us of the need to be resilient and hopeful.

Some works in this year’s Festival adopt a minimalistic theatrical approach, enabling us to transcend the constraints of geography and resources. We also continue to embrace arts-tech, using mixed-reality technologies to open up new performance possibilities.

As always, the Festival presents more than 300 outreach and education activities. Our PLUS events feature a curated series of talks, masterclasses, backstage tours and guided cultural walks. Our comprehensive education initiatives tailored for primary, secondary and tertiary students are aimed at enabling students to gain a more indepth understanding and appreciation of the works we present.

I sincerely thank you for joining us at this performance, and we hope that you find joy and resonance in the experience.

Flora Yu Executive Director Hong Kong Arts Festival

The Hong Kong Arts Festival is made possible with the funding support of:

Creative & Production Team

Concept & Creation

Alexander Devriendt

Karolien De Bleser

Samir Veen

Leonore Spee

Charlotte De Bruyne

Design

Nick Mattan

Edouard Devriendt

Photography

Ans Brys

Joëlle Desmet

Production Team

Lynn Van den Bergh

Leda Decleyre

Willie-Marie Hermans

Hannes Pieters

Production Ontroerend Goed

With the support of the Flemish Community, the city of Ghent, the Tax Shelter measures of the Belgian federal government & Cronos Invest

Production Manager

Fan Ho-yin

Production Assistant

Leung Ho-yee

Hong Kong version produced by Hong Kong Arts Festival

About Handle With Care

Handle with Care is a theatre performance in a box. No actors. No technicians. Just a box. And you.

A box is mailed to the theatre. The instructions are clear: Invite a group of people, on a specific night, at a specific time.

Let the audience take their seats.

Place the box at the centre of the stage.

The audience is waiting.

And then an audience member stands up and opens the box. The show has started.

In Handle with Care, Ontroerend Goed gives you complete control. For an hour, you’ll experience something unique— one-off and unrepeatable. Here. Now. Together.

No one is watching. Can you create something meaningful?

© Ans Brys

Samir: It's not about the everyday… It’s different every time. And that's where the poetry lies. Alexander: Theatre at its best creates a unique experience. That's why in times of streaming, video games and films, we still go to the theatre, because it’s so unique and magical. And this performance is unique every time because nobody else knows what happened there, not even us. It's a crystallisation of a moment that exists only in the here and now.

Samir: Theatre is an attempt to create a valuable experience for someone in front of you. With Handle with Care want to create a valuable experience for someone we'll never meet, in a place we'll never go. It's about connection through time and space.

You did many try-outs for this performance. What did you learn from them? Alexander: The process was more difficult than expected. I gradually learned that control is an illusion. The more we tried to control how people read the text and what they did, the more we made them into pseudo-actors and directors— which they're not. Now I embrace the unpredictable, and hope they make things their own and do things their own way. Because people are truly unimaginable. What were some memorable moments during the try-outs?

Alexander: I most enjoy the things I couldn't have predicted. After more than 40 try-outs, things still happen that make me think:

How is that possible? And yet it's the same performance. It doesn't feel like the performance was hijacked or failed. It succeeded precisely because there were events I didn’t expect. Because people fill in the performance with their own uniqueness. I've seen more than ever that people are “unimaginable”, and I mean that very positively. It might sound a bit corny, because in our zeitgeist it's more fitting to respond with cynicism and relativism, but I refuse to do things that way. An elderly lady was asked during a performance to call her mother. Because she had already died, her friend asked: “What did you do?” She answered: “I called her in my thoughts.” That's what we do this for.

Samir: I also found it incredible to see the number of ways that a rope can be hung. While they all get a clothespin, a piece of tape and a rope, people still do something every time that

About Ontroerend Goed

© Eva Vermandel

Ontroerend Goed is a Belgian performance group that creates self-devised theatre grounded in the present, inviting audiences to participate as well as observe. Known for unpredictable content and form, the company crafts immersive experiences that blur the line between reality and the theatre, turning spectators into active participants and exploring how we position ourselves in the world.

The company first gained international attention in 2007 with The Smile Off Your Face, a one-on-one piece in which audience members are tied to a wheelchair and blindfolded. Its 2008 hit Once and For All We’re Gonna Tell YouWhoWeAreSoShutUpandListen celebrated raw teenage energy on stage. Since then, Ontroerend Goed has won numerous European awards and has presented in New York, Sydney and London to critical acclaim.

Ontroerend Goed tours globally and creates multilingual remakes of its productions, with versions in Russian, French, Putonghua, Cantonese, Kazakh and more. Led by Artistic Director Alexander Devriendt, the collective emphasises ownership by every contributor—from actors to designers and conceptual thinkers—believing that every idea deserves its own artistic expression.

Other key members include Charlotte De Bruyne, Karolien De Bleser, Aurélie Lannoy, Leonore Spee, Samir Veen, Remi Cosijn, Wim Smet, Hannes Pieters, Luna Boone, Justine Boutens and Beth Thyrion.

Concept & Creation

Alexander

Devriendt

© Sarah Eechaut

Alexander Devriendt (born 1977) is

the Artistic Director and one of the founders of Belgian theatre performance group Ontroerend Goed. His past work includes the creation of the personal theatre trilogy (TheSmileOffYourFace, Internal and A Game of You) and the celebrated teenage play Once and For All We’re Gonna Tell You Who We Are SoShutUpandListen. His most recent productions are £¥€$ Funeral Are we not drawn onward to new erA and ThanksforBeingHere. His performances have received several international awards and are performed all over the world, both in their original form and in remakes. Devriendt has been teaching masterclasses in drama at the Drama Department of the Conservatorium Antwerpen, Toneelacademie Maastricht and the Zurich University of the Arts.

Concept & Creation

Karolien De Bleser

© Thomas Dhanens

Karolien De Bleser (born 1980) graduated as an actor from the Royal Institute for Theatre, Cinema & Sound in Brussels in 2004 and went on to get another degree in Theatre Sciences. She worked for different companies, including Theater Zuidpool, and is part of the artistic core of Ontroerend Goed, where she has been working and co-creating since 2006. De Bleser is one of the founding members of compagnie barbarie, where she has been creating, playing and directing new work for more than 15 years now. She also mentors young creators as a coach or director on numerous projects.

Concept & Creation

Samir Veen

© Hetty de Kruijf

Samir Veen started acting at a young age and has participated in more than 40 film and television productions. He graduated from the Academy of Performing Arts in Maastricht in 2016, and has since been acting and writing for a broad range of theatres and festivals throughout the Netherlands and Belgium. He worked on several Ontroerend Goed productions, such as A Game of You £¥€$ and T.M. before he joined the artistic core in early 2023. Veen visited Hong Kong twice to direct a remake of £¥€$ for the Hong Kong Arts Festival in 2019.

Concept & Creation

Leonore Spee

Leonore Spee (born 1994) is a theatre maker, musician and writer. Together with Sascha Bornkamp, she founded Teletext, which creates music and theatre, develops audio tours, and initiates literary projects that combine their love for language, history and electropop. In 2024, Teletext published TheNewAntwerpSongbook, a contemporary edition of the Antwerp Songbook from 1544. Spee is a lecturer at the Royal Conservatoire of Antwerp. Since 2023, she has been part of the artistic core of Ontroerend Goed. After £¥€$ Are we not drawn onward to new erA T.M. and ThanksforBeingHere Spee was involved in the creation of Handle with Care and SUMMIT Concept & Creation Charlotte De Bruyne

Charlotte De Bruyne (born 1990)

started acting when she was 12 at the Kopergietery youth theatre company in her home town of Ghent, Belgium. This is where she met the internationally acclaimed theatre company Ontroerend Goed, where she is now a core member. She made her debut on screen with LittleBlackSpiders by Patrice Toye. Other films and series include Flying Home Achter De Wolken and The Twelve. She worked with the Dardenne brothers on Tori & Locita, played a leading role in Veerle Baetens' film Het Smelt and stars in the television series Juliet. De Bruyne has been involved in various productions by Ontroerend Goed, most recently FightNight Funeral ThanksforBeingHere Handle with Care and SUMMIT

Co-Production List

NTGent, Ghent

Perpodium, Antwerp

Stadttheater Schaffhausen

Melbourne Fringe Festival

Theatre Royal Plymouth

Take Me Somewhere, Glasgow

CCAM/Scène Nationale de Vandoeuvre

International Documentary Film Festival

Amsterdam

De Brakke Grond, Amsterdam

Theatre YOUNG, Shanghai

Hexagone Scène Nationale, Meylan

Biennale Némo MAIF Social Club, Paris

La Comédie de Clermont-Ferrand

Lowry, Manchester

Scène Nationale Carré-Colonnes, St. Médard

Sapienza Centro per la Ricerca e l'Espressione

Artistica Nuovo Teatro Ateneo, Roma

Festival International des Arts de Bordeaux

Theater RAMPE, Stuttgart

The Zoom Arts Center, Seoul

Croatian National Theatre, Zagreb

Hong Kong Arts Festival

Cambridge Junction

Théâtre La Mouche, Saint-Genis-Laval

Gothenburg English Studio Theatre

About the Hong Kong Arts Festival

Launched in 1973, the Hong Kong Arts Festival is a major international arts festival committed to enriching the cultural life of the city. In February and March every year, the Festival presents leading local and international artists in all genres of the performing arts, placing equal importance on great traditions and contemporary creations. The Festival also commissions and produces work in Cantonese opera, theatre, music, chamber opera and contemporary dance by Hong Kong’s creative talent and emerging artists; many of these works have had successful subsequent runs in Hong Kong and overseas. The Festival also presents “PLUS” and educational activities that bring a diverse range of arts experiences to the community as well as tertiary, secondary and primary school students. In addition, through the “No Limits” project co-presented with The Hong Kong Jockey Club Charities Trust, the Festival strives to create an inclusive space for people with different abilities to share the joys of the arts together.

The HKAF is a non-profit organisation . The total estimated income for FY2025 / 26 (including the 54th Hong Kong Arts Festival and 2026 “No Limits”) is approximately HK$159 million. Current Government annual baseline funding accounts for around 12% of the Festival's total income. Around 24% of the Festival’s income needs to come from the box office, and around 44% from sponsorship and donations made by corporations, individuals and charitable foundations. The remaining 20% is expected to come from other revenue sources including the Government’s matching grant scheme, which matches income generated through private sector sponsorship and donations.

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