Goes On
Wooden rods hammering the studio floor sound like the thump of a beating heart within the cavernous Xiqu Centre, Hong Kong’s futuristic performing arts space. A group of young men chant and pound the ground, creating tension as they circle two fighters. One of them, unleashing a combat shout worthy of Bruce Lee, rushes forward wielding a baton in each hand and brings them down on the head of his adversary, who, tumbling backwards, lands on his own weapon. Oscar Lam, a martial arts coach, whose light-footed agility and bald head bring to mind a Shaolin monk, attempts to shape the mêlée. “Imagine yourself as a tiger,” Lam barks at the fallen fighter. “Lunge at him!”
In fair Kowloon, where we lay our scene, these ballet dancers are training for the opening street brawl between the enemy Montague and Capulet families that begins the story of Romeo and Juliet. Lam, a master of the martial art hung kuen, has been brought in to teach the cast how to infuse fighting moves into the choreography.
Since March, throughout the challenges of social distancing amid a raging global pandemic, the Hong Kong Ballet cast has been preparing to perform a unique re-imagining of William Shakespeare’s classic play, styled as Romeo + Juliet, set to premiere in September. Instead of Verona, this version of the tale of two star-crossed lovers takes place in the atmospheric world of 1960s Hong Kong, with an aesthetic that is inspired by the city’s history of cinema classics and a dance style that blends classical ballet with martial arts.
For this ambitious
