Don Quixote | Li Lin and Hong Kong Ballet Dancers | Photographer: Conrad Dy-Liacco | Courtesy of Hong Kong Ballet
We could not be more thrilled that Hong Kong Ballet, Asia’s premier ballet company, is pirouetting, glissading and jetéing back into live performance starting 30 October 2020.
This new season is bursting with classics, including: Don Quixote (30 October 2020); The Nutcracker (18 December 2020); Artistic Director Septime Webre’s Ballet Classics for Children: Cinderella, featuring a stripped-down and narrated version of Prokofiev’s score (30 January 2021); Balanchine’s Jewels (21 May 2021); and Septime Webre’s new Romeo + Juliet, with the Hong Kong Sinfonietta on Prokofiev’s iconic score (18 June 2021).
In addition, Hong Kong Ballet will be running turn(it)out festival for two weeks at West Kowloon Cultural District’s Freespace, kicking off with an opening gala on 29 January 2021. The Vivaldi / Handel Project follows on 5 February 2021, along with a ton of interactive, family-friendly activities and events throughout the two weeks.
Artistic Director Septime Webre says that the central theme for the new season is, quite simply, love: “The word “love” infuses absolutely everything at Hong Kong Ballet: love of being a dance artist, and love for our amazing city, which has seen and experienced so much this past year. Love fuels the dedicated work we do, and drives the innovative ways we engage with the community. Love is not about getting – it’s about giving.” Well, we certainly cannot wait to celebrate this love for ballet in Hong Kong again.
Read Hong Kong Ballet’s new brochure and get booking.
This free, one-night micro-exhibition of ten photo prints is typical of Mihn 宀 Gallery’s edgy, pop-up art space. It’s Xin Li’s first ever solo-exibition, but the Norwegian photographer’s distinctive style belies her years. She describes the slightly comical still-lifes as “self-portraits”: despite being photographed years apart from each other, there is a cohesiveness to this collection, hung from a central circular rail like socks on a washing line.
It’s clear to see Xin Li returning to her Chinese heritage in “Sweet Tooth”, with traditional Chinese coins packed into a grey, unappetising plate of jelly in a darkened room. Elsewhere, fine china chopsticks, and a face mask covered in kids’ plastic gems, also show us a kitschy, Asian aesthetic.
Mihn 宀 Gallery was established just a year and a half ago in October 2018, but the exhibitions are clearly popular with Hong Kong’s artsy crowd. Their goal is to provide an accessible and autonomous platform for emerging artists to exhibit and sell their work. The name “Mihn” (宀) derives from Chinese Radical 40, signifying a “roof”.
The gallery itself works out of a small hipster night-club on the fourth floor of a building in Sheung Wan, with the DJ booth occupying slightly more space than the artist’s own work. Exhibitions are free, with a reasonably-priced bar open to all. ADSL by PABO (aka Julien Pradier) is coming up next week, promising some pop-art style, computer-generated offerings.
Follow Mihn 宀 Gallery on Instagram.
Glimmer Theatre’s exciting new family show comes back to London’s Streatham Space this February half term, for eight performances only, promising ice skating, magic and adventure – brought to life with stirring live music, and Glimmer Theatre’s trademark beautiful imagery, inspired by “A Rich Theatre by Little Means”.
Co-artistic director Sophie Crawford, who has also composed the show’s live music, most recently appeared in Warhorse and Amélie in the West End. She chalks the show’s success down to the passion of the whole company: “We are passionate about creating family theatre with an inspiring message,” she says. “I think it introduces children to characters and places they might never have encountered before.”
Co-artistic director and designer Andy Brock agrees: “The show is very entertaining, and rehearsals have been extremely playful, which I think comes through in performance, too. But at its core, The River Runner is a story about a strong young woman, who uses her talent and skill to change the world around her.”
It’s 1901 in Isleham village, Cambridgeshire, and Annabelle Howgego is the best ice skater for miles around. With metal skates strapped to her boots, Annabelle casts off her dull life as a scullery maid, and becomes a champion skater. But this year, something rises up from the frozen river, and sends the village into chaos. It’s down to Annabelle to save her village and solve the mystery of what lurks beneath the ice.
You can read our review of the show here.
The River Runner will be skating back into Streatham Space 20 – 23 February 2020.
“We spent a really, really long time — much longer than any other show before — trying to work out the set design,” explains director Candice Caalsen, who is directing a cast of forty-two adults for the “Face Productions“ performances, and a cast of a hundred children aged 8-18 for the “Face Academy“ performances of this epic musical. “Of course, we didn’t want to make a boat, and then try and sink it. We’ve gone a bit more abstract.”
The five-time Tony award-winning 1997 Broadway musical approaches the historic tragedy of 1912 in a way completely different to the 1997 film. “We want to transport audiences to another era,” Caalsen explains. “It’s a real story, and all the characters are based on the real people who were on the Titanic, so every story you see is real. We definitely want people to go away feeling moved, and remembering such a historic tragedy.”
Both Face Academy and Face Productions rely on a cast of volunteers, but for the adult cast, at least, you can expect to see the lead roles played by trained professionals from all over the world, and all local Hong Kong talent.
There’s no live band (audiences will hear a fully customisable, “conducted” backing track with a bit of live keyboard), but both gigantic casts are going to blow the roof off in the ensemble numbers. Don’t miss the boat!
Book the “Face Academy” performances and the “Face Productions” performances online, playing 11 – 13 October 2019.
It’s safe to say that The Prickle are massive fans of Unleash The Llama. So as you can imagine, we all got rather excited to hear they’ve brought out a brand new podcast. Only one episode up so far but it’s absolutely hilarious. Subscribe.
The deranged, epic story follows two naïve millennials: arrogant conspiracy theorist Oscar Ayers and naïve IT-technician Lowell Blair. Travelling around Panama, the pair are mistaken for drug-lords, and drawn into the brutal world of the Panamanian cartels. Recording their experience on their smartphones, the pair are plunged into a maelstrom of mistaken-identities, backstabbing and conspiracy that takes them all the way to a showdown at the Turner Prize awards ceremony.
PanaMax finds hope in the direst of situations, even if those situations are a direct consequence of one’s own ignorance. This series takes the British tradition of odd-ball character comedies that deal with social outsiders and dubious familial patronage – like Withnail and I – and combines it with the ‘caught on tape’ candour of An Idiot Abroad and the narrative drive of Narcos and Breaking Bad to deliver a sitcom that is as thematically and formally relevant as it is entertaining.
This is Unleash The Llama’s first foray into the world of audio, but it’s perfect for their outlandish, over-the-top sensibilities. The first episode isn’t even half an hour — it’s too well-edited — but it’s absolutely crammed with insanity. Subscribe.
Subscribe to PanaMax on Apple Podcasts.
How do you like your improv jazz? Completely mental? Then SWIM Collective is for you. It’s unusual for contemporary free jazz to feature a vocalist; three vocalists even moreso. But this is the ensemble’s strength and USP: a highly theatrical, human sound. An accompanying band of harp, keyboard, cello, percussion and electronics allows for a diverse range of expression.
Some of the vocal improvisation is straight out of the Toronto Blessings of the 1990s, a flurry of impassioned tongues, over dissonant spreads of expressionist harp and piano cluster-chords. Sometimes the singers merely coo gently; sometimes they are silent.
One of the most fascinating things about these through-composed, non-repeating, freely improvised pieces, is how the style slowly (sometimes imperceptibly) weaves in and out of free-rhythm effects and anchored, rhythmic, tonal grooves. The whole ensemble are really listening to each other and giving each other space, never trying to dominate the sound. Sometimes this leads to moments of complete silence.
Audience participation is highly encouraged. Everyone is given some tissue paper, and a lucky few are given some spoons. Being conducted in and out, at different volume levels, the sound of paper rustling and spoons clinking en masse is quite mesmerising, and the chance to be involved feels pretty special.
Follow SWIM Collective on Facebook.
It’s hard to put into words how impressive and special this weekly jazz night is at this tiny live music venue near the party district around Central. Tjoe Man Cheung is a young jazz guitarist of exceptional skill, who, despite his unassuming demeanour, is clearly an excellent bandleader too. Moreover, he seems to know every dynamite musician in Hong Kong, so his “jam session” ends up being of a ridiculously high standard.
NTBM stands for “Not To Be Missed”, and this is apt. The actual “house band” line-up might be slightly different each Sunday evening, but whoever you get, you can be sure of a few pre-rehearsed tunes of outstanding quality, hovering around contemporary jazz-funk, to suit Tjoe’s guitar.
But the star attraction is the jam. Musician after musician, every audience member who joins the action is unique and phenomenal. There doesn’t appear to be any sheet music, even for the niche and complex numbers: just a quick murmur amongst themselves of the title and the key, and away they go, sounding tighter than a lot of pro bands. How is this possible? You may find a Japanese tap-dancer joins in with an improvised solo worthy of its own Broadway show, or an avant-garde vocalist improvises disquietingly around a classic, or a drummer changes tack and rocks out on a melodica (à la Jacob Collier).
Audience participation is very much encouraged. A couple of singers get up who are not first-rate, but relish the opportunity to perform. Little percussion instruments get passed around. It’s a steal at $100 HKD entry; although this entry fee is waived for latecomers who miss the main show. The bar is outrageously expensive (think $75 HKD for a Diet Coke) but still NTBM.
Check out all the live music at Peel Fresco online.
To celebrate the 30th anniversary year of the longest-running LGBTQ+ film festival in Asia, the Hong Kong Lesbian and Gay Film Festival (HKLGFF) kicked off with two packed-house screenings and a dynamite party in Kowloon. All ticket holders to the opening screenings of Ek Ladki Ko Dekha Toh Aisa Laga (How I Felt When I Saw That Girl) (2019) or Les Crevettes Pailletées (The Shiny Shrimps) (2019) were invited to the party, with free drinks sponsored by Finlandia and Jack Daniel’s.
Before the screenings, executive director Raymond Leung presented this year’s Prism Award to Angus Leung, on behalf of him and his husband Scott Adams, for spending the past five years battling local government to recognise their marriage in Hong Kong.
At Woobar, DJs Janette Slack and Melody Lane delivered a stream of feel-good club classics with the occasional remix. Short, live performances injected some fresh energy, too. KiKi house of Marciano brought their mixed-gender, PVC-clad voguing trio, which went down an absolute storm. Drag Jam did some fun lip-syncing and also posed for some photo opportunities with fans.
Although primarily geared up for a young, nightclub-going crowd, there was a glorious mix of ages, nationalities and styles, embracing Hong Kong’s diversity. A huge amount has changed over the past thirty years: 1991 saw the legalisation of homosexuality, and Hong Kong’s annual Pride parade started in 2008. But there is still no legal recognition of any same-sex relationships, and limited protection against discrimination. The fight for visibility continues.
Book online for all upcoming events, including the closing party on 21 September 2019.
The Edinburgh Fringe is upon us! And here at Prickle HQ we could not be more excited about Unleash the Llama’s new show, a self-professed, “twisted millennial romcom that absolutely no one asked for”. This brand new two-hander sold out its London previews, and got the audience into quite a tizzy (see the video below).
JEW…ish is a pitch-black, romantic comedy about true love, politics, and two millennia of inherited trauma. TJ (Edie Newman) and Max (Saul Boyer) are in love; with amphetamines, the Palestine Liberation Organisation and ooh, Jeremy Corbyn. Occasionally even each other. There’s just one thing: Max is Jewish. TJ isn’t. He’s desperate to escape the tribe; she’s looking to sign up. What happens when you don’t identify with your identifiers, and you break out of the boxes you’re born into?
Unleash the Llama was founded in 2014 by Saul Boyer and Sam Rayner, with the goal of creating unique and ambitious comedy productions. Unleash the Llama were responsible for the hit 2014 Underbelly show Nougat for Kings (“hard to take your eyes off” – The Scotsman), the irreverent narrative comedy podcast: ‘PanaMax’ and the sketch show TüManz 2k18 which premiered at London’s Leicester Square Theatre in January 2018.
For JEW…ish, Boyer teams up again with Poppy Damon, having won awards for their writing together (Shortlisted for The RSC/Other Prize, Papatango, Cannes Series ‘In Development’ Award), with Kennedy Bloomer directing and Zoe Weldon producing.
Playing 1:30pm at the Gilded Balloon until 26 August 2019.
Cirque du Soleil’s 2015 arena spectacular, based on James Cameron’s Avatar (2009), is coming to London. Still the highest-grossing film of all time at $2.8 billion, Avatar is about how, on the planet Pandora, a local tribe of Na’vi become endangered by the expansion of a mining colony. This contemporary circus show is a sort of prequel, set thousands of years before the events of the film.
In Avatar, Jake Sully becomes the sixth person to successfully ride a great leonopteryx, also known as a toruk: any rider is then named Toruk Makto. But who was the first Toruk Makto? Set around 837 BC, the show follows the journey of Entu, the first Na’vi to become a Toruk Makto, in order to save the Tree of Souls from being destroyed by a volcano.
Cirque du Soleil are globally renowned as the greatest circus on earth, and audiences can expect plenty of jaw-dropping acrobatic stunts. However, this differs from most Cirque du Soleil shows in that there is a narrative core. The show also has a large focus on puppetry, animating the wild and diverse creatures of Pandora: viperwolves, direhorses, austrapedes and turtapedes. The leonopteryx/toruk flies using reverse-string puppetry, with the puppeteer beneath the creature.
Toruk also features multimedia audience interaction, where audience members use a mobile app to to influence visual effects and interactive content during the performance. It’s Cirque du Soleil pushing their art to the limits: no wonder this has been such a global hit show for the last four years. Book now!
Take flight with the ancient Na’vi in London for seven performances only, 26 — 30 June 2019.