(Preparation: 10 minutes. Discussion: 8 minutes)
The article below appeared in newspaper some time ago:
Hong Kong theatres draw little applause from critics
Production companies complain there are not enough affordable venues for the city's performance artists
19 August 2006
Michael Taylor
South China Morning Post
DOES HONG KONG have the potential to be the Times Square of Asia, or China's West End? The answers vary.
According to Stanley Shen, spokesman for New Icon, which produces and presents live shows, there is a "huge following for live theatre - both in Cantonese and English". The only downside is a lack of performance venues available at a reasonable price.
Mr Shen said about 10,000 people worked in the field of live theatre in Hong Kong - about a third of the number in New York and half that of London. He conceded that the city lacked "the depth of talent" of Broadway or the West End, adding that young performers wanting to polish their acts usually ended up going abroad or working for touring companies.
"There are lots of enthusiastic people working in all aspects of the theatre industry here, from scriptwriters and composers to stage designers, set designers, singers and dancers," Mr Shen said.
"There are also people on the production side who know how to manage and budget. There is a fine array of talented people - the only thing that is missing is a place to perform."
Ko Chi-sum, chief executive of Spring-Time Stage Productions, shared the same concern. "The lack of venues is a big problem," he said. "If we don't have enough hardware it will be very difficult for us to develop the software."
The government's proposed West Kowloon Cultural District is at the top of both Mr Shen and Mr Ko's wish list. In addition to museums and an art exhibition centre, the new district will include a theatre complex with space for 400, 800 and 2,000 people, a performance venue with at least 10,000 seats, a water amphitheatre and four piazzas.
"West Kowloon is key to the future of live theatre and other performing arts in the city," said David Quah, a voice teacher and coach at the Hong Kong Academy for Performing Arts (APA). "Hopefully it will bring in more and more people to Hong Kong, as well as more locals who are willing to take part in musical theatre and opera and hopefully more sponsors as well, since there are so many big businesses here."
While the government, arts groups and developers in Hong Kong argue over the controversial cultural district along the Kowloon waterfront, Shanghai has taken concrete action, completely refurbishing the old Nanking Theatre and turning it into a world-class performance venue.
Originally built in 1930, it has been renamed the Shanghai Concert Hall. Plans have also been announced for the construction of three theatres - to be known as Culture Corner - which will target Broadway-type musicals.
No wonder the likes of London-based Cameron Mackintosh, a producer of such blockbusters as Phantom of the Opera and Miss Saigon, have set up shop in the city.
New York-based Broadway Asia Entertainment has also established its first overseas office in Shanghai. It plans to present at least 12 bilingual musicals on the mainland over the next three years, touring more than 20 cities. Included will be such perennial favourites as 42nd Street and West Side Story.
According to Australian actor, singer and writer Robert Vicencio, who toured the world playing Thuy in Miss Saigon, Hong Kong - thanks to its legal system, low taxes and large number of English speakers - continues to make the perfect launch pad into China and the region. However, he doubted that it has what it takes to be the Far East's Broadway.
"There are some great theatres in Shanghai," he said. "The Shanghai Concert Hall feels like a West End theatre, except that everything looks brand new. But there is more to it than the theatres. It is also the city itself. Shanghai has the right buzz."
But Hong Kong's reviews were not all negative. The city might not have an adequate number of performance venues, let alone such stylish sites such as the Shanghai Concert Hall, but it does have an ace up its sleeve.
"There is no censorship here and no restrictions," Mr Ko said. "This is Hong Kong's strong point. Here we enjoy artistic freedom."
For those aspiring to a career in live theatre, the going can be tough. Mr Ko estimated that fewer than 20 per cent of the graduates of APA's drama department had been able to pursue full-time careers in the field.
But for some - such as Angela Lam Ho-ka, who undertook a three-year advanced diploma in musical theatre (dance) after finishing Form Five - it all boils down to following your heart.
"It is a good career as long as you like to perform," she said. "There aren't many full-time opportunities, but you can work as a freelancer on stage or do television commercials. If you like teaching you can also teach at children's centres or schools."
Production companies complain there are not enough affordable venues for the city's performance artists
19 August 2006
Michael Taylor
South China Morning Post
DOES HONG KONG have the potential to be the Times Square of Asia, or China's West End? The answers vary.
According to Stanley Shen, spokesman for New Icon, which produces and presents live shows, there is a "huge following for live theatre - both in Cantonese and English". The only downside is a lack of performance venues available at a reasonable price.
Mr Shen said about 10,000 people worked in the field of live theatre in Hong Kong - about a third of the number in New York and half that of London. He conceded that the city lacked "the depth of talent" of Broadway or the West End, adding that young performers wanting to polish their acts usually ended up going abroad or working for touring companies.
"There are lots of enthusiastic people working in all aspects of the theatre industry here, from scriptwriters and composers to stage designers, set designers, singers and dancers," Mr Shen said.
"There are also people on the production side who know how to manage and budget. There is a fine array of talented people - the only thing that is missing is a place to perform."
Ko Chi-sum, chief executive of Spring-Time Stage Productions, shared the same concern. "The lack of venues is a big problem," he said. "If we don't have enough hardware it will be very difficult for us to develop the software."
The government's proposed West Kowloon Cultural District is at the top of both Mr Shen and Mr Ko's wish list. In addition to museums and an art exhibition centre, the new district will include a theatre complex with space for 400, 800 and 2,000 people, a performance venue with at least 10,000 seats, a water amphitheatre and four piazzas.
"West Kowloon is key to the future of live theatre and other performing arts in the city," said David Quah, a voice teacher and coach at the Hong Kong Academy for Performing Arts (APA). "Hopefully it will bring in more and more people to Hong Kong, as well as more locals who are willing to take part in musical theatre and opera and hopefully more sponsors as well, since there are so many big businesses here."
While the government, arts groups and developers in Hong Kong argue over the controversial cultural district along the Kowloon waterfront, Shanghai has taken concrete action, completely refurbishing the old Nanking Theatre and turning it into a world-class performance venue.
Originally built in 1930, it has been renamed the Shanghai Concert Hall. Plans have also been announced for the construction of three theatres - to be known as Culture Corner - which will target Broadway-type musicals.
No wonder the likes of London-based Cameron Mackintosh, a producer of such blockbusters as Phantom of the Opera and Miss Saigon, have set up shop in the city.
New York-based Broadway Asia Entertainment has also established its first overseas office in Shanghai. It plans to present at least 12 bilingual musicals on the mainland over the next three years, touring more than 20 cities. Included will be such perennial favourites as 42nd Street and West Side Story.
According to Australian actor, singer and writer Robert Vicencio, who toured the world playing Thuy in Miss Saigon, Hong Kong - thanks to its legal system, low taxes and large number of English speakers - continues to make the perfect launch pad into China and the region. However, he doubted that it has what it takes to be the Far East's Broadway.
"There are some great theatres in Shanghai," he said. "The Shanghai Concert Hall feels like a West End theatre, except that everything looks brand new. But there is more to it than the theatres. It is also the city itself. Shanghai has the right buzz."
But Hong Kong's reviews were not all negative. The city might not have an adequate number of performance venues, let alone such stylish sites such as the Shanghai Concert Hall, but it does have an ace up its sleeve.
"There is no censorship here and no restrictions," Mr Ko said. "This is Hong Kong's strong point. Here we enjoy artistic freedom."
For those aspiring to a career in live theatre, the going can be tough. Mr Ko estimated that fewer than 20 per cent of the graduates of APA's drama department had been able to pursue full-time careers in the field.
But for some - such as Angela Lam Ho-ka, who undertook a three-year advanced diploma in musical theatre (dance) after finishing Form Five - it all boils down to following your heart.
"It is a good career as long as you like to perform," she said. "There aren't many full-time opportunities, but you can work as a freelancer on stage or do television commercials. If you like teaching you can also teach at children's centres or schools."
Your group has been asked to write an article for you school magazine about the advantages and disadvantages of having the West Kowloon Cultural District. Discuss with your group what to include in the article. You may want to talk about:
l the benefits for having the West Kowloon Cultural District
l why some people think the money spent on the project should be spent elsewhere
l other things you think are important
Reading Practice paper
Part A: Read the article “Hong Kong theatres draw little applause from critics “ and answer the following questions.
1. Why do young performers who want to polish their acts “ended up going abroad or working for touring companies”? ( 1 mark)
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2. Give three types of performance venues that the West Kowloon Cultural District will have. (3 marks)
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3. In paragraph 11, what does “the city” refer to? (1 mark)
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4. Find a word which mean “lasting a very long time” from paragraph 10-16. (1 mark)
_____________________________________________________________________
5. Does Robert Vicencio, mentined in paragraph 12, agree that Hong Kong can be Far East’s Broadway? Why ? (3 marks)
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6. According to Ko Chi-sum, what are the advantages of Hong Kong? (4 marks)
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7. What does “boils down to” in paragraph 18 mean? (1 mark)
a. is because of
b. controls
c. flows
d. heats
8. Find five adverbs from the text. (5 marks)
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9. In pargraph 15, the phrase “let alone” can be replaced by… (1 mark)
a. not to mention
b. except
c. despite of
d. because of
10. The writer asks in the 1st paragraph, “Does Hong Kong have the potential to be the Times Square of Asia, or China’s West End?” What is your view? Why?(3 marks)
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