一個關於香港人絕處逢生的漫畫式 · 瘋狂 · 喪笑 · 黑色荒誕劇
An insane, hilarious, cartoonish, dark comedy about desperately living Hongkongers
編劇 Playwright : 鄭國偉 Matthew Cheng
導演 Director : 梁偉傑 Ben Leung
演出日期 • Showtimes:(Sat) 7/8/2023 3pm; (Sat) 7/8/2023 7pm; (Sun) 7/9/2023 3pm; (Fri) 7/14/2023 8pm; (Sat) 7/15/2023 3pm; (Sat) 7/15/2023 7pm; (Sun) 7/16/2023 3pm
贊助商 | Our Sponsors
演員 | The Cast
- 老竇 | Dad
- 林太 | Mom
- 阿仔 | Son
- 芝芝 | Gigi
- 紙箱婆 | Carton Po
- 包租婆 | Landlady
- 有輪叔 | Uncle YauLun
- 周老闆 | The Boss
- 軍裝警察 | Policeman
黃允邦 飾演 林正一
他曾為角聲佈道團、美國華人博物館、美國郵政局及紐約Central Presbyterian Church 作歌曲表演, 有英、國、粵語流行歌曲、粵曲等。參與電影短片演出 I, Chinese, An Exorcism, Monsoon 和在 25屆上海國際電影節放映的Overman。之前話劇演出包括紐約哥倫比亞大學的His is a Cage 及 Textile Co. 的Bedroom Farce。 《車你好冇》 是首次擔任男主角的舞台劇演出。
Dominic Wong as Dad
As a performer, he has sung with the Chinese Christian, MOCA, USPS & Central Presbyterian Church in English, Chinese pop songs, and Cantonese Opera. Participated in short films including I, Chinese, An Exorcism, Monsoon , and Overman, which was shown at the 25th Shanghai International Film Festival. His theatrical works include His is a Cage by Columbia University and Bedroom Farce by Textile Co. This is his debut as a leading role in a play.
何善影 飾演 林鍾麗愛
來自香港，曾任中英劇團全職演員，演出劇目包括有《貓城記》、《禧春酒店》、《屠魔者》、《和平使者》、《鯨魚》、《尋找男子漢》、《備忘錄》、《傻瓜》等多個製作。1991年移加國後， 曾參與 CanAsian Theatre 和 Cahoots Theatre Projects 的演出。今次是她首度與四海劇社合作。
Ho Sin-Ying as Mom
Sin-ying was born in Hong Kong. She was a full-time actress of the Chung Ying Theatre, and her performances included City of Cat, Spring Fever Hotel, Minotaur, Peace Maker, Whales, Looking for a Man, Memorandum, Fools, Fools, Fools and more. She performed for CanAsian Theatre and Cahoots Theatre Projects after immigrating to Canada. This is her first time performing for Four Seas Players.
李健烽 飾演 阿仔/林永達
Tony Li as Son
Tony’s profession is a health insurance broker. In his spare time he enjoys playing badminton and watching Stephen Chow’s films. After participating in Four Seas Players’ Suspect F last year, he has developed a deep passion for role-playing. He hopes this performance will allow the audience to witness his enthusiasm and growth.
曹君穎 飾演 芝芝
Savanna Chou as Gigi
Born and raised in Macau, Savanna is an art enthusiast who enjoys various types of performing arts. She was first exposed to the Four Seas Players in 2019 and developed an interest in play production. This is her debut performance, and she is thrilled to work with all the cast and crew members.
程慧珊 飾演 (紙盒婆）
Tammy Wong as Carton Po
Tammy is a graduate of The Hong Kong Academy for Performing Arts, majoring in Acting. She participated in numerous productions including theater works, films, commercials, and educational TV. Tammy joined Four Seas Players in 2019 and made her debut in The Truth. In 2020 she participated in the filming of Our Secrets.
韓綽桐 Amanda Hon 飾演 包租婆
Amanda Hon as Landlady
Amanda is a certified Image Consultant and she has been involved in numerous entertainment productions as Artistic Director and Executive Producer.
She has been involved in many on-stage and off-stage roles at Four Seas Players for many years. Her performances at Four Seas include Milanga, Murder in San Jose, Ruan Lingyu, Rabbit Hole, The Diary of a Libertine and A Lady Who Knows Kung Fu and a short film, Our Secrets. In 2019, she had a successful commercial performance of the play “ Murder in San Jose” at the Queens Theatre in New York, which received enthusiastic response.
As a professional in the field of medicine and nutrition, she provides information and shares health knowledge on various platforms.
Currently she is dedicated to charitable activities, aiming to promote Chinese arts and culture.
盧德和 飾演 有輪叔
Lawrence Lo as Uncle YauLun
Lawrence was born in Hong Kong. He has participated in a number of Four Seas Players’ productions, including Whose Life Is It Anyway?, Love Au Zen, Mama, and Playwright’s Delusion. After more than a 10 years hiatus, he returned to stage and participated in Suspect F last year.
劉啟明 飾演 周老闆
曾經演出多齣獨立及短電影，包括《愛殺》、《拼盤》《Chinese Puzzle》、《Mirror Mirror》、《Official Report》。他十分期待自己初次的舞台演出 。
Jeff Lau as the Boss
He has participated in many independent short and feature films, including Combination Platter, Chinese Puzzle, Mirror Mirror, and Official Report. He is looking forward to his stage performance debut.
梁文安 飾演 軍裝警員
Liam Liang as Policeman
Liam was born in GuangDong, TaiShan. He has been in the United States for eight years and is a graduate of The City College of New York. Professionally he works in the construction industry and is a self-claimed workaholic. His staging debut was last year’s Suspect F.
編劇-鄭國偉 | Playwright – Matthew Cheng
此外，其執導的劇場作品包括：Loft Stage《我不要被你記住》；劇場工作室《反面情侶》（第六屆華文戲劇節參節作品）及《隔世幽瞳── 留彌》。亦曾參演下列劇作：音樂劇《老子駕到》（劇場版）、《斷到正》、《疊配文》、音樂劇《隱形客漫遊2011》、《正在想》、《我的援交日記》、《不如跳跳舞》、《承受清風》、《女幹探》、《山村老師》及《但願人長久》等。電視作品有香港電台《沒有牆的世界VII──閃亮舞台》、《一念之間2》、《醫護人生》、《女人多自在》、《監警有道》。
Graduated from the Drama School of the Hong Kong Academy for Performing Arts with a Master’s degree in Drama, majoring in Playwriting. Received the Outstanding Playwriting Award during his time at the school. In 2002, he won the Best Script Award from Hong Kong Playwriting Competition organized by the Hong Kong Repertory Theatre with the play The Bloody Hell. Received the Outstanding Young Playwright award at the 12th Hong Kong Theatre Awards.
導演-梁偉傑 | Director-Ben Leung
Ben joined Four Seas since 1993, he is a seasoned member of Four Seas Players. He had performed many different characters on stage and also he had participated in many different positions off stage, from videography to lighting design. As a director, he has directed several plays for the company, including Raymond To Kwok-Wai’s Love Au Zen and I Love A-Ai. In addition, he was invited by another company to direct Emperor Liang Jeweled Repentance. After a long absence, he is delighted to direct The Bloody Hell for its satire and humorous plots.
導演的話 | Director’s Note
還記得兩年前疫情剛剛放寛，劇社躊躇怎樣處理觀眾隔離和戴口罩的問題 。雖然今天好像一切都經已回復正常，但事實上很多人和事都已經改變了 。有部分人今天仍要為生活而憂心，亦有不少人似乎看透世情，改變對生活的態度和模式，而我正是其中一位。
我十年前執導的兩個劇目：杜國威的【我愛阿愛】和一個為佛教慈善活動製作的【梁皇寶懺】，都是超過十二位演員的大型製作。這次【車你好冇】只得九位演員，但在處理上並不比較以上兩齣劇輕鬆。初期以為這劇是一個很簡單直接的故事，後來在排練過程中卻有很多「發現」⋯⋯ 例如發現編劇鄭國偉有很多十分聰明的鋪排，安排恰當，笑位一浪接一浪。亦發現這劇原來並非容易處理，因為劇本鋪排很緊密；發現演員要花很多體力去演繹其角色，因此我要小心令到每個演員能夠保持狀態和安全。另外，為了將這劇演繹得生活化和有真實感，所以在設計上我花了很多心思營造車房設計和小食攤位，希望帶出一種香港懷舊的感覺。其中第三幕要有一輛車衝進車房內，在香港演出的圖片中看到是有一輛真的汽車在台上，但在我們的小劇場又有可能做得到嗎？當時我真的喊了句【車你好冇】⋯⋯ 之後經過我們團隊的一番商議，終於找到一個解決的方案。
這些年來劇社團一直推廣舞台劇和廣東話文化，我希望這一個演出能夠達到目的。這次相對我之前導演的劇目花了多近一倍的時間來籌備和綵排 ，因為我希望能夠把每一個細節都做到最好。在此我要感謝一班熱心的後台工作人員 ，亦多謝副導演（也是我太太）Sonia 在整個過程中的幫助及照顧有加。最後，我很感恩遇上一群熱愛演戲的朋友及享受與大家一起的互動。
I still remember it was only two years ago our company contemplated how to deal with the masks policies soon after the pandemic eased up. Although it appears everything is back to normal now, the fact is many people and things have changed. There are people who still have to worry about livelihood, and then some people seem to see through the world and change their attitudes towards life, and I am one of them.
The last time I directed a play turned out to be ten years ago. Then in 2019 I had a small role in Farewell The Good Old Days, and was later also selected to play a main role in Spring Fever Hotel, a large-scale play to celebrate Four Seas Players’ 50th anniversary. I was very excited about the opportunity but unfortunately the production was canceled due to the pandemic. Although acting has never been my strong interest, I have always wanted to try different things, so it was a little disappointing at the time. (Later, by chance, I volunteered in another non-profit organization Family Harmony, helping them on their website and hosting an online event.)
After the pandemic our theater company still had to face many difficulties, but when I saw that there were still a group of friends who were passionate about theater, I decided to return to directing. When choosing a script, I didn’t really have any special preferences. The only thing I wanted was a play which is about family communication and relationships. At that time, I felt that as long as the script and story were organized and the staging did not need to be too complicated. When our Artistic Director sent me two scripts to read, I quickly chose The Bloody Hell, probably because I was attracted by its title (because it sounds like foul language in Cantonese). In all seriousness, I was drawn to this play because of my own personal growth and participation in the Family Harmony activities during the pandemic. I want this play to be a funny and heartwarming exploration of family dynamics. I hope that the audience will leave the theater feeling inspired and uplifted.
Honestly, I’ve never had much to ask for in choosing a script. I think that no matter what the script is, my responsibility as a director is to try to make it the best it can be. To me a play script is like a constructed illustration, and the director’s job is to add a little color to it, using different colors to create different effects. Actors, sets, lighting, sound effects, and costumes are the paint, and the actors and crew are the pen and paper. Different directors can completely interpret the same script with different effects and create a different feeling. Selecting the script is only the first step. Then we need to choose the actors and understand each one’s potential, their ability to understand the script, and each person’s performance style. Through communicating with the actors, I need to adjust the direction of the play. Recognizing the characteristics of each actor is like facing a bunch of different paints……you have to keep adjusting and mixing them slowly to realize what the resulting effect will be.
The two plays I directed ten years ago: Raymond To Kwok-wai’s I Love Ah Ai for the Four Seas Players, and The Emperor Liang Jeweled Repentance, a production I worked on for a Buddhist charity event, are both large-scale productions with more than a dozen actors. There are only nine actors in The Bloody Hell this time, but the handling is not as easy as those two. At the beginning, I thought this play was a very simple and straightforward story, but later I made a lot of “discoveries” during the rehearsal process… for example, I found that the playwright Matthew Cheng has many very clever subplots, the arrangements are appropriate, and the laughter has been non-stop. I also found that the script is very tight, and therefore the actors have to spend a lot of energy during the performance, so it is my job to ensure that each actor can maintain their state of mind. In addition, in order to make this play more life-like and realistic, I put a lot of thought into the design of the set, aiming to bring out a nostalgic feeling of Hong Kong. In the third act, there is a car rushing into the garage. When I saw the pictures from the performance in Hong Kong, there was a real car on stage, but is it possible to accomplish the same in our small theater? After some discussions with our production team, we finally came up with a workable solution.
As a non-profit community theater group, the actors are in different age groups and have different acting experience. As a director, I have the responsibility of both a coach and a nanny. Our actors are all volunteers, so they do not come here for their livelihood or realizing their dreams, but only for their enthusiasm for theater. This is why I have continuously supported and participated in countless productions by Four Seas Players over the years. I am a person who enjoys the process more than the result. I never deliberately set goals, because I know that there will always be something gained in every process. I firmly believe that as long as you go all out in the process, the result will always be worth it.
Four Seas Players has been promoting stage plays and Cantonese culture for over fifty years, and I hope this performance can achieve the same goals. This time it took nearly twice as much time to prepare and rehearse, compared to the plays I directed before, because I hope to be able to do my best in every detail. The rehearsal process was challenging, but it was also very rewarding. We had a great cast and crew who were all passionate about the play. We worked hard to create a realistic and immersive experience for the audience. I am grateful to my assistant director (also my wife) Sonia for her help, care and selfless support during the whole process. Lastly, I would like to thank the cast, crew, and family for their hard work and dedication. This play would not have been possible without them.I hope that you will enjoy The Bloody Hell as much as I do. I believe that it is a play that will stay with you long after you have seen it.
P.S.: This performance revolves around the stress of life. Therefore, I would like to share an article on “Emotional Balance” provided by Chris Chan, the founder of Family Harmony, hoping to help those of you who in need. Click here for the article.
製作團隊 | Production Team
編劇 鄭國偉 – Playwright Matthew Cheng
導演 梁偉傑 – Director Ben Leung
副導演 蕭鳯翔 – Assistant Director Sonia Siaw
舞台設計 程慧珊 – Set Designer Tammy Ching
燈光設計 梁偉傑 – Lighting Designer Ben Leung
音樂設計 盧詠珊 – Music Designer Wing Lo
美術設計 盧詠琪 – Graphic Designer Kiky Lo
場刊設計 Johnny Ho – Program Designer Johnny Ho
造型設計 顧文翔 – Stylist Ted Koo
舞台監督 盧詠珊 – Stage Manager Wing Lo
助理舞台監督 Iris Ng – Assistant Stage Manager Iris Ng
燈光控制 周志超 – Lighting Operator Ken Zhou
音響控制 覃曉明 – Sound Operator Xiao Ming Qin
字幕控制 陳敏瑜 – Subtitle Operator Olivia Tan
佈景監督 梁幼明 – Set Master John Leung
佈景製作 佈景組 Set Construction Four Seas Player
劇本翻譯 彭穎嬈 – English Translation Theresa Pang
後台工作人員 鄭思婷/霍東葦/黄穎虹 – Stage Crew Zita Cheng/Dongwei Huo/Stacy Huang
攝影/錄影 羅基穎 – Photography/Videography Kevin Law
票務主任 梁宛瑩 – House Manager Amy Leung
執行監製 韓綽桐 – Producer Amanda Hon