Over the past five years, in alignment with the national 14th Five-Year Plan, Hong Kong has been committed to establishing itself as a center for cultural and artistic exchanges between China and the rest of the world. Leveraging the opportunities of the times, local practitioners have showcased exceptional works on new stages, gaining influence both at home and abroad: from the original Cantonese musical The Impossible Trial – a musical completing its tour in Shanghai, Beijing, and Hong Kong, to the official opening and operation of the East Kowloon Cultural Centre in November this year. These achievements fully demonstrate the dual development of talent deployment and hardware facilities.
As Hong Kong prepares to enter the 15th Five-Year Plan period and looks ahead to the next five years, veteran cultural and artistic professionals are confident. They believe that the city is rich in creative talent and possesses strong "soft power." However, in the long run, it still faces the challenge of insufficient "hardware." Only by consistently producing high-quality cultural works can the artistic ecosystem thrive.
The East Kowloon Cultural Centre, which opened in November, is a significant recent addition to Hong Kong's artistic venues. The Cantonese musical HighLights—The Memories of Charles Kao debuted as the opening performance on Nov. 15, catching the attention of composer and music director of The Impossible Trial – a musical, Leon Ko.
In Ko's view, Hong Kong not only boasts excellent talent but also produces many high-quality artistic works. However, the industry is still at a critical juncture where "the creative rhythm needs to change." He remarked, "In the past, we often said we lacked software—such as talent—but now, it's actually hardware that's lacking. There are more creators, and the quality of works has improved, but venues and systems have yet to catch up."
Long-running musicals require institutional support
In recent years, the quality of local musicals in Hong Kong has gradually improved, with The Impossible Trial – a musical becoming a significant milestone. The production not only ran for multiple shows in Hong Kong but also successfully toured Beijing, Shanghai, and other cities. During its Hong Kong run, some cross-boundary audiences even brought their luggage to the theater, while others bought tickets for multiple shows to compare the "chemistry" of different casts.
The 2025 Policy Address proposed a vision for the long-term running of The Impossible Trial – a musical. Ko expressed support for this idea but also pointed out practical limitations: "A long run doesn't mean performing 365 days a year without stopping. Audiences may lose interest, and actors may grow tired." In his vision, the long run should involve a seasonal, rhythmic system. "For example, having a fixed season each year with limited-time shows. Once tickets are sold out, that's it. Audiences will feel that if they miss it, they'll have to wait until the next season."
He believes that for Hong Kong to establish a culture of long-running musicals, "it's essential to reserve slots for works to develop gradually," with institutional support playing a crucial role. The success of The Impossible Trial – a musical was the result of a long gestation period.
"The pandemic in recent years 'coincidentally' gave us more time to reflect." Ko's insight is that time creates quality, and quality earns reputation. "Works on Broadway in New York or London's West End aren't born from sudden inspiration; they rely on long-term trial runs, polishing, and revisions." He hopes future policies will "adopt a long-term investment perspective and be willing to wait for works to mature gradually."
At the same time, Ko hopes Hong Kong won't rely solely on one blockbuster to sustain the entire market. In his eyes, the city currently lacks a "repertoire list." "While one work is running long-term, multiple theaters and different productions should operate simultaneously."
East Kowloon Cultural Centre alleviates venue shortages
Seasoned arts consultant and lecturer in the Cultural Management programme at The Chinese University of Hong Kong, Heiman Ng, emphasized the importance of venues for the development of Hong Kong's cultural and artistic scene, as they provide more opportunities for local artists and creators. Citing examples like the Hong Kong Design Centre in Sham Shui Po and the HKDI Gallery in Tseung Kwan O, he noted that such large, multifunctional spaces are rare in Hong Kong, where land is at a premium.
"These hardware facilities allow artists to experiment at a lower cost, yielding unexpected results."
The East Kowloon Cultural Centre now boasts multiple performance facilities accommodating 120 to 1,200 spectators, equipped with advanced stage technology and designed with both modernity and community elements in mind. Its primary goals are to promote long-term performances and the integration of art and technology. Both Leon Ko and Cindy Leung, General Manager of Musica Viva Limited, pointed out based on their experiences that the emergence of the East Kowloon Cultural Centre reflects the gradual release of long-term performance venues by the SAR government, alleviating venue shortages to some extent.
Ko visited the East Kowloon Cultural Centre and was impressed by its Art Tech facilities and stage systems. He noted that hardware upgrades not only increase the number of stages but, more importantly, expand creators' imaginations, extend the maturation period of works, and allow production teams to slow down, experiment more, and make adjustments.
Leung mentioned that her arts team would consider applying for venues at the East Kowloon Cultural Centre in the future. However, she expressed concern that modern technological equipment might increase additional production costs.
"Without sufficient funding, we cannot experiment with more stage effects using new technologies, making it difficult to create stunning stage performances."
Hope for more small and medium-sized rehearsal spaces
However, Ko also pointed out that in the long run, the industry still faces the reality of insufficient hardware—chronic shortages of small and medium-sized rehearsal spaces. For many arts groups, venues like the Hong Kong Cultural Centre still operate on a "one-week setup, weekend performance, and then move on" model, making it difficult to polish works to maturity.
"If rehearsals are insufficient, audience word-of-mouth becomes unstable, and teams naturally lack the confidence to extend their runs."
Beyond venue allocation, Ko added that a more fundamental issue is the lack of an "impresario" in Hong Kong—a decision-making role dedicated to planning long-term artistic projects. Therefore, he hopes the government will adopt a more long-term investment perspective in creative endeavors, "rather than immediately cutting off projects deemed unfeasible."
Ko suggested that key programs could be staged for three to four months each year, which would allow for concentrated promotion and generate buzz while avoiding year-round promotional fatigue. In the long term, he hopes Hong Kong productions can achieve "long-term runs" like some international classic musicals, "becoming cultural landmarks for Hong Kong, boosting tourism and related industries, and possessing the potential to reach global audiences, transcending language barriers to become culturally influential ambassadors on the world stage."
(Source: Ta Kung Pao; Journalist: Guo Yueying, Liu Yi, Yan Kun; English Editor: Darius)
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