Commissioned
The Drunkard
Freely adapted from the novel The Drunkard by Liu
Yichang Sebastian Kaiser X HKAPA’s School of Drama
28.02, 05 - 07.03.2026 / 8:15pm 01, 08.03.2026 / 3:00pm
Studio Theatre, Hong Kong Cultural Centre
Approximately two hours and 15 minutes with no interval
Performed in Cantonese with Chinese and English surtitles
This production contains strong language, adult content, drinking and smoking scenes, loud sound, strong lighting and smoke effects
Recommended for ages 16 and above
Before the performance begins, please switch off your mobile phones and all electronic devices to prevent any sounds or lights that may disturb the performers and other audience members. Unauthorised photography or recording of any kind is strictly prohibited during the performance. However, photo-taking without affecting others is allowed during curtain call.
Cover Photograph © Sonny.th.Wong,
Co-Production:
Commissioned
the Hong Kong Arts Festival
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.
※ 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”).
※ Ticket holders are strongly advised to arrive punctually. The HKAF reserves the right to refuse the (a) admission of latecomers (whether at the beginning of the performance or after the intermission) and (b) re-admission of audience members who leave the auditorium during the performance.
※ The HKAF also reserves the right to determine the possibility of admission and re-admission of audience members (which includes latecomers and audience members who have left the auditorium and are seeking re-admission), as well as the manner in which they are admitted.
※ In any case, should the HKAF permit the admission of latecomers, such latecomers shall only be admitted at designated latecomer point(s). 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.
Guided Cultural Tour
Experience the heritage of Sheung Wan district—its 1960s community, movie locations and Movable-Type Printing Technique
17.01.2026 (Past event)
Meet-the-Artist session
01.03.2026
Contents
Chief Executive’s Message
Chairman’s Message
Foreword
Creative & Production Team, Cast &
Characters
About Liu Yi-chang
Synopsis
Interview
About The Academy for Performing Arts’ School of Drama
Creative Team Profiles
Cast Profiles
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 Team
Co-produced by
Hong Kong Arts Festival
The Hong Kong Academy for Performing Arts’ School of Drama
Director & Script Adaptation
Sebastian Kaiser
Dramaturge
Alastor Chow
Assistant Director Chow Wai-chuen
Set Designer
Isaac Wong
Costume Designer
Yammy Fung
Audio Designer
Vito Tong
Lighting Designer
Draco Wong
Cast & Characters
Sze Wei as Drunkard
Yeung Hop-to* as Drunkard
To Yim-shan as Lily Cheung, Shum Kabo, the Devil of Capital
Birdy Wong as Yeung Lu
Ng Wing-ha as Szema Lee, Mrs Lui, Mrs Wong, Love Robot
Caro Chan as Mak Ho-mun
Ng Lok-hay * as Rich Man, Yeung Lu’s Mother, Devil, Invisible
Kwan Cheuk-ho* as Yeung Lu’s Brother, Invisible
Wong Tsz-ying * as Yeung Lu’s Sister, Invisible
Lam Wai-tung as* Yeung Lu’s Sister, Invisible
Wong Yee-ki * as Yeung Lu’s Sister, Invisible
* Students from The Hong Kong Academy for Performing Arts’ School of Drama
Production Team
Production Manager
Fan Man-yan
Stage & Deputy Stage Manager
Mak Wai-yee
Assistant Stage Manager
Ho Cheuk-kei
Sound Engineer
Anson Lam
Production Electrician
Wong Yat-tim
Assistant Lighting Designer
Kan Tsz-kin
Lighting Crew
Kwan Cheuk-ho
Dresser
Emily Choy
Surtitle Operator
Sharon Lo
About Liu Yichang
Author Liu Yichang
Liu Yichang, born in 1918 in Shanghai, was a prominent writer regarded as the “father of Hong Kong literature”.
A pioneer of the “stream-of-consciousness” narrative style in Chinese fiction with TheDrunkard, Liu's works explore the complexities of urban life and the human psyche. He began his literary career in the 1940s, gaining recognition for his innovative storytelling techniques using parallel storylines and internal monologues to delve into the psychology of his characters.
After settling in Hong Kong in 1957 and working as a newspaper editor, in 1963 he published TheDrunkard, one of the first Chinese-language novels to use modernist techniques. TheDrunkard and the 1993 novel Intersection inspired Wong Kar-wai's award-winning films IntheMoodforLove and 2046 respectively.
In addition to fiction, Liu also made significant contributions to essays and literary criticism, as well as to newspapers as a prolific columnist, establishing himself as a versatile and influential voice in Chinese literature. His works have been translated into a wide range of languages, including English, French, Italian and Japanese. Liu published more than 30 books over his six-decade career, with his writing often reflecting the tumultuous historical backdrop of China, including the impacts of war and social upheaval, while also capturing the subtleties of everyday life. He died in Hong Kong in June 2018 aged 99.
© Screenshot from Hong Kong Arts Development Council’s YouTube video
Synopsis
TheDrunkard is described as the first modern stream-of-consciousness novel about and from Hong Kong. Liu Yichang's writing resembles words and stories like a camera flying through time and space, akin to the finger on today’s social media, swiping between seemingly disconnected events: drinks and extravagant meals in Hong Kong bars and restaurants, flashbacks to various war scenes and pivotal moments in Chinese history. It features pitiful (and drunken) monologues about the impoverished life of an unsuccessful writer and presents discourses on contemporary Chinese literature—questioning whether modern Chinese literature truly exists. And there are erotic moments in random encounters of lovers within the labyrinth of the burgeoning capitalist megalopolis of Hong Kong. It seems that it’s always night in the novel, always night in the thoughts, always night in Hong Kong. TheDrunkard creates a night-time atmosphere full of night-time dreams.
This performance of TheDrunkard has been realised by Sebastian Kaiser and the Hong Kong ensemble in the “Super Poor and Totally Mobile Theatre” style. This means that at the beginning of the play, the stage will be empty and the performers will develop all elements of the theatre themselves—from set design to props and costumes. With the simplest technology, a completely flexible live cinema will be created that can move around on the stage space. On a basic level, the audience can witness the development of all constitutional elements of a theatre show that create the illusion of the stage.
Text: Sebastian Kaiser
Interview
Embracing ‘Poverty’: Returning to the Core of Performance
In the world of contemporary theatre, German director Sebastian Kaiser continues to push the boundaries with his playful yet thought-provoking concept known as “Super Poor and Totally Mobile Theatre”. His latest experiment is an adaptation of Liu Yichang’s seminal novel The Drunkard taking audiences on a stream-ofconsciousness journey through the eternal struggles of artists caught between reality and dreams.
The term “Super Poor and Totally Mobile Theatre” playfully alludes to Erwin Piscator (1893–1966) and Jerzy Grotowski (1933-99), two major experimental figures in 20th-century theatre, though only in a loose way. Polish theatre legend Grotowski’s “Poor Theatre” concept, developed in the 1970s, advocated stripping theatre of all unnecessary elements—make-up, costumes, sets, lighting and so on—to focus entirely on the live, direct connection between actors and audiences. He even proposed abandoning the traditional stage/ audience setup, designing a unique space for each production. However, Kaiser notes that he is not directly influenced by Grotovski. Rather, the idea serves as a starting point for his own playful experiments, a set of selfimposed rules to spark creativity. “Super mobile really concerns the theatre room and the fact that we have a big focus on acting … This is a play with words. It can be super poor, totally mobile, mega embarrassing and ultra funny,” he says with a laugh. Kaiser traces the idea of “mobility” in the theatre back to 17th-century France, when Molière and his troupe toured villages with a wagon called the “Chariot of Thespis”. It carried props and costumes, allowing them to set up stages outdoors, sell tickets and perform before moving on to the next village.
Kaiser sees parallels in today’s globalised world: “We also make a kind of theatre that’s totally mobile. Today, we take our phones and our video projector, we put it in our hand luggage, and then we travel somewhere else and show it there.”
As for what this looks like in practice, Kaiser prefers to maintain the mystery, encouraging audiences to experience it firsthand in the theatre.
Drawing inspiration from cinema
The Drunkard is widely regarded as the first stream-of-consciousness novel in Chinese. Set in 1960s Hong Kong, it tells the story of a former Shanghai journalist who flees the city during the war and turns to alcohol to numb his frustrations. While the novel lacks a clear plotline, Kaiser sees this as a liberating feature: “He is not a storyteller like those writing plays for Broadway and Hollywood, where everything is clear and explainable. There, nothing is random or meaningless. But Liu Yichang’s style is more modern, using words to create a form that reflects a certain emotion. And this emotion is stronger than words, somehow. This is very attractive to me, especially when you know he was not a drunkard.” Kaiser explains that alcohol serves as a tool to drive the story in the novel: “This idea of taking a trip somewhere… being on a trip through Hong Kong, through the bars, being on a trip on a wave of love. Hong Kong, this megapolis where so many lonely people are running around seeking love, seeking happiness.” Interestingly, Kaiser learned that Wong Kar-wai’s iconic films In the Mood for Love and 2046 were inspired by The Drunkard. “Both films are part of the cultural pop consciousness worldwide… My cultural knowledge about Asia is very much determined by the films of Wong Kar-wai.” Kaiser marvels at the way Wong didn’t take specific plot points or events from the book, but borrowed character, such as the iconic smoking scenes. In The Drunkard, the young woman Szema Lee leans against a wall, cigarette in hand, smoking in the drunkard’s room—a moment that Wong re-interpreted on screen. “Of course, we have to relate somehow in the show to the films… We will use these moments of the love story because it’s written in the book. As far as Wong Kar-wai was inspired by The Drunkard, I also allow us to be inspired by Wong Kar-wai,” Kaiser says. His goal is to create a cohesive interpretation of the characters, inviting the audience to follow The Drunkard back to old Hong Kong, chasing dreams that swirl around in a glass.
The eternal struggles of artists In The Drunkard, Liu Yichang writes: “In philistines’ eyes, literature and art are nothing but poison with a sugar coating.” This poignant line reflects the challenges faced by artists in 1960s Hong Kong, a highly commercialised society that left little room for idealism. Kaiser compares this to his own experience in Germany, where strong government funding for the theatre offers artists a degree of freedom. “In Germany, we have a very strong culture of theatre-founded theatres. We get the funding and the budget, and we can do more or less what we want with it. The freedom is very much protected… But I know Hong Kong is much more commercial. I’m also sure that young artists are struggling with this.” Through his adaptation, Kaiser plans to delve into these struggles. He draws parallels with Aristophanes, who reflected on the relationship between artists and society in ancient Greece, and Molière, who wrestled with similar issues throughout his career. “This is a universal topic and for sure also relevant today in Hong Kong—not just the writers, but especially the theatre makers,” he says. Liu’s portrayal of the artist’s plight remains timeless—an ongoing reflection for creatives across generations.
Text: Eugene Chan This article was originally published on the HKAF’s News & Features website in January 2026 © Sonny.th.Wong, Chapter Zero Limited
About The Academy for Performing Arts’ School of Drama
The Hong Kong Academy for Performing Arts’ School of Drama has a long history of training many of Hong Kong’s finest dramatists. For nearly 40 years, its graduates have served as a dynamic and creative force in Hong Kong's theatre, cinema and television industries. As the school approaches the next 40 years, it remains committed to providing cutting-edge training focusing on three primary pillars: teaching excellence, practical experience and knowledge accumulation. The School of Drama looks at the entire world for inspiration and is devoted to sourcing the latest training techniques and knowledge from around the globe to ensure its graduates are prepared to succeed in today’s everevolving drama industry.
Sze Wei as Drunkard
Sze
with
Yeung Hop-to as Drunkard
Yeung
To Yim-shan as Lily Cheung & Shum Kabo, the Devil of Capital
To Yim-shan is a freelance actor who graduated from The Hong Kong Academy for Performing Arts in 2023 with a major in Acting. To also graduated from the City University of Hong Kong in 2018 with a Bachelor’s degree in Business Administration. To was awarded the HSBC Scholarship and received HKAPA Scholarship for three consecutive years, as well as twice receiving the Outstanding Actor Award from HKAPA School of Drama.
To’s recent performances include the self-funded project EveryNewDawn at a Sheung Shui squatter house and at the Yim Tin Tsai Performing Arts Festival 2025; BurmeseDays (re-run), Practice of Zen and Mariana Trench by Theatre Ronin at the Edinburgh Fringe Festival in 2024 and 2025.
Birdy Wong as Yeung Lu
Birdy Wong is the Artistic Director of Artocrite Theater. She graduated from The Hong Kong Academy for Performing Arts with a Bachelor’s degree in Drama. In 2016, she won the Hong Kong Arts Development Council Award for Young Artist.
As a performer, she has been recognised at the Hong Kong Drama Awards as Best Leading Actress (Tragedy/Drama) for The Visit and as Best Supporting Actress (Comedy/ Farce) for The Truth from Liar
As a playwright she won the award for Best Script from Hong Kong Theatre Libre for Sins and the International Association of Theatre Critics (Hong Kong) Critics Awards’ honours for Best Script and Playwright of the Year for Tête-bêche
Ng Wing-ha as Szema Lee, Mrs Lui, Mrs Wong, Love Robot
Ng Wing-ha (HaHa) graduated in 2024 from The Hong Kong Academy for Performing Arts, majoring in Acting. She currently holds a Hong Kong Sign Language (Advanced) Certificate. Her previous works include Poor Guy Diary Theatre’s Who Muted, Theatre Ronin’s Haw Par Mansion, Hong Kong Repertory Theatre’s ThreeImpaired Monkeys (as video actor and Video Design Assistant).
Caro Chan as Mak Ho-mun
Caro Chan is a trilingual (Cantonese, Mandarin, English) artist with dual heritage (Chinese and Nigerian). She holds a Bachelor’s degree in English Language and Literature, and recently graduated from The Hong Kong Academy for Performing Arts (2023), where she pursued a Bachelor’s degree in Drama, majoring in Acting. She was nominated Performer of the Year by The International Association of Theatre Critics (Hong Kong) in 2025 for her role in FlowingWarblers (2024), and received the Asian Cultural Council Hong Kong New York Fellowship 2025. Her professional performances include SongsofInnocenceandExperience (2024), The Doctor (2024), Labyss (2024) and FlowingWarblers (2024).
Contents About the HKAF
Sonny.th.Wong, Chapter Zero Limited
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.
Full Organisational Profile: https://www.hk.artsfestival.org/en/ about-us/index.html?
Committee and Staff List
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The Hon. Charles YK Lee, GBM GBS OBE JP
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Dr The Hon. Sir David KP Li, GBM GBS OBE JPP
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PricewaterhouseCoopers
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Flora Yu
Assistant to Executive Director Connie Ho
PROGRAMME Programme Directors Grace Lang, So Kwok-wan
Associate Programme Director Kenneth Lee
Senior Programme Managers Shirley So, Janet Yau*
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Project Manager Li Long-hin*
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Alice Chan*, Nicole Chow*, Dorothy Chung*, Ryan Yung*
Melissa Wong#
Elvis King*
Shirley Leung*
Production Manager Jacob Chan*
PUBLICATIONS Editorial Manager Eugene Chan*
English Editor Adam Wright*
Associate Editor Shao yi Chan*
Assistant Editor Lindsey Gan*
OUTREACH
Outreach Manager Carman Lam*
Outreach Coordinators Olivia Chan*, Giselle Li*, Tina Tang*, Ariel Wong*
Outreach Officers Raven Chiu*, Angel Kwok*
Outreach Assistant Christine Chan*
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Associate Marketing Director Eugene Lo
Marketing Managers Vicki Cheng*, Stephanie Cheung*, Effie Wong*
Project Manager – Marketing Hades Tam*
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Assistant Marketing Manager Jessica Chu*
Marketing Coordinator Isaac Leung*
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Ticketing Officer Heidi Choi*
DEVELOPMENT Development Director
Special Development Associate Alex So*
Development Managers
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Leroy Chan*, Evelyn Ip*, Janice Wong*
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Development Officer Jeria Yip*
Temporary Development Assistant Cherry Chan*
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Finance Director Teresa Kwong
ACCOUNTS Account Manager
Connie To*
Accounting & Administrative Officer Charmaine Mak*
HR & ADMINISTRATION
HR and Admin Manager Janet Yeung*
Receptionist/Junior Secretary Virginia Li INFORMATION TECHNOLOGY Information Technology Manager Derek Chan*
NO LIMITS
Project Director Eddy Zee*
Programme and Outreach Managers Becky Chung*, Tiffany Ko*, Frieda Ng*
Assistant Programme and Jasmine Poon*
Outreach Manager Programme and Outreach Coordinator Taylor Cheng*
Marketing Manager Carly Wong*
Deputy Marketing Managers Gina Chan*, King Ng*
Assistant Production Manager Dick Cheng*
Senior Accounting Officer Catherine Chung*
Artist Coordinators Haynes Cheung*, Eleanor Chu*, Betty Fung*, Cassandra Heung*, Kelvin Ho*, Kitty Leung*, Joyce Lo*, Celine Luo*, Lucrezia Luxardo*, Blanche Wu*, Adrien Yeung*, Bonnie Yung*
Production Officer Rita Ngai*
Technical Coordinators Jess Cheung*, Yan Fan*, Cherry Fung*, Lawrence Lee*, Camille Tam*, Billy Tang*, Joyi Tsang*
*Contract Staff
In alphabetical order #2025/26 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council
Updated February 2026
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E.M. Fung Foundation Limited
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King’s Flair International (Holdings) Limited
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Dr Stephen Suen
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