20-01-22
Two Legs walk better than one. I want to have three legs!
For the professionals on the stage and the audience under the stage, in being opposite, they yearn to each other and can give birth to each other’s inspirations. In some bad cases, like the way that comedy and tragedy are connected, the happiness of a playwright may however be the unhappiness for those audiences who are disappointed with his boring play.
Edmond Tong(湯駿業), the eminent producer, director and actor in Hong Kong, laughed, “Um, doing what can please the audience as much as myself is like balancing redox reactions in acidic solution. Audiences often want two things from a play: fun and entertainment, but I often insist on 2 other things from my work: the personal desire of self-expression and ability to reflect my thoughts in my play and see the audiences mirror them back to their life.”
Windmill Grass Theatre(風車草劇團) is a miracle of success in Hong Kong. Edmond is one of the co-founders of the group with Joey Leung and Luna Shaw back in 2003. Edmond recollected, “I was born in 1978. I lived in Tuen Mun and the family was simple: dad, mom and a younger brother. In my teens, I joined an amateur drama club and fell in love with the performing art. I was admitted to The Hong Kong Academy for Performing Arts in 1998. In 2003, we, as schoolmates, set up Windmill Grass Theatre.” I asked, “Were you immediately going places?” He laughed again, “Not in any way! When I left the uni, I realized ‘graduation was synonymous with unemployment’. So, I was worried and then hurried the formation of a theatre group to create performing opportunities for 3 of us. We refused to be in the mire and tried to perform everywhere that we could do, in black boxes, found spaces, mini theatres and finally lyric theatres. The struggles during the difficult years gradually developed our strengths. If you find a path with no obstacles, it probably will not lead anywhere.” Offstage, Edmond is a serious, meek and adroit listener. He answered my questions sincerely.
I asked, “3 of you were of limited means. How could you spend money before you had it?” He crossed his fingers, “We used our savings to attract government subsidies with a small project.” I did not understand, “How?” He said, “Government was usually cautious about funding a new drama group. She started off with little money to test us when we proposed a play. We had to chip in the shows with our savings as seed money. 2 sources of money from us and Government made things possible. I remembered our profit for the 1st show was only HK$3,000 but we were proud about no money loss at the end. Once the government was reassured that we were not fooling around or produced lousy work, she would open up to you with more funding, though in bits and pieces, so that you could finally build up your gradual strengths to become a theatre group with year-round regular performances. It was like an intermittent flaky dating process in which both parties were testing their contributions.”
I said, “Windmill Grass Theatre is amazing: about 20 years ago, small audiences, day in and day out, came together to support you. You managed to keep them together. Now, it seems like you and the audiences have worked together to establish the great reputation of your art group by popular and meaningful shows one after the other.” Edmond glanced at me, “What a job! I have kept in close touch with a lot of young friends and audiences. I went to New York and London to watch shows for more ideas. I am learning day by day. I cannot accept my theatrical performances, no matter a play or musical, to be outdated, boring or meaningless. I cannot conform to the old ways of our forebears of telling a story. Always shoot higher than what I can do. I call the process a ‘two-legged animal’. The subjective side of myself is one leg. The objective side of the audience is the other leg.” I was interested, “What do you imply?” Edmond tightened his lips, “Subjectively, I want to do what I like to do. It is impossible to create a good show unless it can be a spiritually meaningful one. Objectively, how do I please my audiences by doing things more differently, interestingly and entertainingly?” I cracked a joke, “Could I add a third leg?” Edmond asked, “Uh, what is it?” I replied, “You want to make footprints too!”
I have known Edmond for almost 20 years. People walk in and out of my life. He is a really impressive friend and always told me, “Maurice, whenever you need help or advice, just call to let me know.” Most importantly, he generously invited me to his performances and unpresumptuously welcomed my comments.
Performing art market is constantly in a state of uncertainty. If there is one thing that is certain, it will be an artist’s insecurity being his insipid fear which can or cannot be overcome.
This article can also be found at the following sites:
