The 2nd Hong Kong International Shakespeare Festival will be held from June 5 to 21. Tang Shu-wing Theatre Studio's latest production, Othello, serves as the opening program and will run for nine performances from June 5 to 10.
The play features four actors: Leung Tin-chak, Mandy Wong, Lai Yuk-ching, and Rachel Leung, each playing multiple roles, with Wong and Leung taking on the challenge of cross-gender casting.
Through exquisite physical expression and inner tension, the actors will reinvent this classic tragedy of love, delivering a human lament woven with obsession, jealousy, and remorse.
Deconstructing tragedy with comic techniques
Othello also marks the final instalment in director Tang Shu-wing's exploration of Shakespeare's Four Great Tragedies. During the creative process, Tang transplanted the setting from 16th-century Venice to the late Ming–early Qing Chinese court.
The story draws from the historical fact that Koxinga (Zheng Chenggong) once had a bodyguard of black soldiers. This adaptation retains the protagonist's "outsider" status while breaking down the temporal and spatial boundaries between Chinese and Western classical traditions.
"I want the audience to feel a connection to our own history and culture when watching this," Tang says.
"The overall plot remains completely unchanged; only the names, places, and historical background have been altered." However, he emphasizes that the standout innovation of this version is its departure from a purely tragic narrative structure by incorporating comedic elements.
"The audience should be able to enjoy watching it."
Breaking gender frameworks to reach the core
The Hong Kong production of Othello continues the approach of Tang's earlier English-language version, using four actors to play nine characters. Mandy Wong and Rachel Leung take on male roles. Wong plays Iago and Bianca (Cassio's mistress), while Leung plays Roderigo, Brabantio (Desdemona's father), and Emilia.
Tang explains that this arrangement reflects, on the one hand, the universality of human nature regardless of gender, and on the other, the "make-believe" quality of traditional theatre in both Eastern and Western traditions. Whether it is the Elizabethan convention of men playing women or the cross-gender performances in Chinese opera, theatre is not about replicating reality.
"Returning to the essence of theatricality and make-believe can actually broaden the audience's imagination."
In their cross-gender performances, neither actor deliberately mimics male physicality. Instead, they explore the voice, body, and inner state unique to each character through practice.
"Iago's traits are not just external; they lie in his inner cunning and desire to manipulate," says Wong.
Meanwhile, Leung makes a clear distinction between her two male characters, "Because of their differences in age and circumstances, I have to widen the lower range and richness of my voice."
As for the greatest challenge in this production, Wong points to mastering Shakespeare's language. "Shakespeare's language is extra complex, full of layers and subtext. Especially Iago - his intricate mind uses ever-changing words to manipulate others. I have to grasp the rhythm and linguistic sensibility, while also handling the huge amount of lines and physical demands."
Wong says the hardest part is accurately capturing each character's inner world in the comedic scenes, while maintaining consistency even as the performance style shifts.
Reflecting universal human nature through contemporary lens
Shakespeare's works endure because they reveal "universal human nature" that transcends time, race, and culture. Othello focuses on destructive jealousy and malicious lies within human nature.
"Such phenomena have existed since ancient times. Now, with advanced internet technology, rumors and slander spread faster and more widely — they are everywhere in real life."
What Tang wants to do is reinterpret the classic from a contemporary perspective. He explains that this production incorporates not only conventional theatrical performance but also video projections and Brechtian techniques, paired with a unique tragicomic narrative.
"I hope the audience can enjoy the show, feel emotionally connected, and also be provoked to think, reflecting on the society we live in today."
In recent years, Shakespeare's works have been repeatedly staged by creators worldwide, and related films and TV adaptations are also common. Tang admits that high-quality original works are rare and require long-term cultivation.
"That's why returning to reinterpret classical works is an inevitable choice for the creative community."
He believes that diverse adaptations allow artistic creation to flourish, but the most important thing for creators is to be clear about the play's original intentions. "What the creator wants to present to the audience determines the extent of the adaptation."
In his view, although Shakespeare is not part of China's indigenous culture, creators in any cultural field should be able to interpret classic foreign works. "His writing style may feel somewhat distant to contemporary audiences, but how to trim and tailor it while preserving its spiritual core and making it appealing to modern viewers is a great challenge for creators."
When asked about plans for Shakespeare adaptations, Tang reveals that he would like to try comedies such as Twelfth Night or A Midsummer Night's Dream, but needs time to find the right creative inspiration and production conditions.
"Rehearsing and performing a Shakespeare play takes far more effort than an ordinary stage play."
According to the director, he has poured immense energy into this production, but is happy that the whole team is fully committed.
"We're ready to share it with the audience."
(Reporter & Editor: Ashley; Cameraperson: Anna Li; English Editor: Darius)
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