Cabaret is considered by many to be an art form that defies easy definition. Since its inception, this performance genre has often encompassed singing, dancing, drama, stand-up comedy, and various original works, developing distinct styles and becoming a particularly unique splash of color in Western urban nightlife. However, for Hong Kong, this type of performance is indeed rare.
Since May 2025, the Tea House Theatre at the Xiqu Centre in the West Kowloon Cultural District has transformed into a "Hong Kong-style cabaret" on weekday nights, launching the WestK Cabaret Nights, which allows audiences to enjoy cabaret performances in a relaxed atmosphere. The program also invites numerous local performing artists and emerging talents, providing rare stage opportunities for growing multidisciplinary artists.
The intimate, diverse, and innovative stage of the Hong Kong-style cabaret, with its rich, integrated approach to singing and performance, offers many artists a chance to boldly cross boundaries. On Feb. 9, musical theatre actor Edwin Wan will present his autobiographical work Intermission at 35 as part of the WestK Cabaret Nights series. Having transitioned from finance to the stage, pursued advanced studies at the Royal Academy of Music in the UK, and become a full-time actor with Chung Ying Theatre Company, earning award nominations, he feels performing this piece at the age of 35 is "a great opportunity to look back on myself."
A cross-disciplinary life at the "age 35" turning point
In Wan's view, the core of cabaret is "interacting with the audience and sharing a very intimate environment with them," breaking the "fourth wall" of traditional theatre.
"Hong Kong hasn't had many opportunities like this for local artists to showcase their singing and dancing talents in such a small-scale, novel format. So, this initiative by West Kowloon is also making excellent use of the Tea House setting to provide a series of opportunities for local artists."
The concept of "Intermission" also reflects his current state.
"At 35, it feels like a good time to just pause and reflect on what I've done in the past and what I want to do in the future... This intermission isn't me actively choosing to stop now and rest; it's more that my life has reached this stage, and it seems like the right time to think." He particularly noted that within the industry, 35 is an awkward yet reflective turning point for male actors, a theme explored in many musicals.
Earlier, Wan was nominated for Best Actor in a Musical at the 33rd Hong Kong Drama Awards for his role in Little Shop of Horrors. This holds special meaning for him: "If I told my younger self from over a decade ago, still working in a bank, I would never have believed it." It feels more like a demonstration of "life's possibilities," allowing him to see the unpredictability and vastness of fate.
Regarding the WestK Cabaret Nights series' intent to showcase a "Hong Kong-style cabaret" flavor, he believes this reflects Hong Kong's unique diversity and the coexistence of different languages and cultures. In this performance, he will incorporate elements of multiple languages, including Cantonese and Korean. From receiving Western musical theatre training to gradually returning to Hong Kong and Asia, performing in Asian languages, he feels he has completed a certain stage of growth and pursuit.
Performing in WestK Cabaret Nights provides him with an opportunity to connect and reflect on this dream-chasing journey: "There's no right or wrong path. I think the most important thing in life is to find your own place, to find what sets your heart at ease, what your heart truly desires."
Using song as a path
On Feb. 11, soprano Kenix Tsang will present her work Sing Peacefully With Grace at the Tea House Theatre. This will be a musical theatre performance blending art song, physical theatre, and original dialogue.
For Tsang, the charm of cabaret lies in its inclusivity and relaxed nature.
"The specialized performance modes of each performer can converge in cabaret." Another major characteristic, from the audience's perspective, is that "besides watching the performance, you can also have a drink, eat something, and there's a very relaxed atmosphere for understanding what the performer wants to express."
When Tsang received the invitation for WestK Cabaret Nights, the creative direction quickly took shape in her mind. "Because they wanted to tell the artist's own story, I already felt I could do it when I accepted." She divided her roughly 11-year career journey to date into three parts, selecting corresponding classical art songs as the framework. "Because there aren't many performance opportunities for singing art songs, whether choosing repertoire for masterclasses I attended previously or for my own concerts, I was already selecting pieces that resonated with my thoughts. So, with that prior accumulation, the song selection process for this was actually quite smooth."
The work is inspired by the Cantonese saying "yau faa yun" (wandering in the garden, meaning giving an irrelevant answer), which means to beat around the bush or talk aimlessly, which precisely fits the state of being lost and searching she wanted to express. "It might convey a feeling of 'I don't know where I'm going,' but this 'not knowing' might precisely give meaning to this 'process.'"
As the performance unfolds, Tsang will gradually change into three corresponding costumes, transitioning from all-black to more casual and relaxed attire, symbolizing the character's shifting state of mind.
Differing from the traditional concert format of "introduction — performance," Tsang specifically incorporated physical theatre and Cantonese dialogue for Sing Peacefully With Grace. The Cantonese dialogue was specially designed for this performance, "also hoping the audience understands that classical music isn't limited to just the traditional concert format."
"Because the classical singing style and the content of the lyrics can create distance for a cabaret audience, I felt the need to add more explanatory elements."
As Artist-in-Residence for the SingFest, Tsang has been actively involved in theatricalizing art song performances in recent years. She believes such attempts remain niche in Hong Kong but are very common internationally.
"The classical music side also wants to find a way of expression that can bring it closer to the audience." She has observed that Hong Kong audiences are quite receptive to innovative works that "make sense." "They also want an emotional connection."
(Source: Wen Wei Po; Journalist: Chen Yi; English Editor: Darius)
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