HK Magazine - - CULTURE -

It’s a com­edy set in the hills just above

Fo Tan. There’s a very nice hous­ing es­tate up on the moun­tain over­look­ing the fac­to­ries. That gen­er­ates the idea of the play, which is: What if we took a whole block and turned it into loft-liv­ing, New York-style apart­ments? What would hap­pen? What would hap­pen to the peo­ple do­ing it, what would hap­pen to the peo­ple cur­rently us­ing those spa­ces in dif­fer­ent ways?

So many things. It’s fas­ci­nat­ing. Some are still func­tion­ing busi­nesses and small fac­to­ries, but those that aren’t are now artist spa­ces, lit­tle gal­leries, lit­tle sculp­ture work­shops. I even un­der­stand that if there’s nowhere for your bones and your urns, you can use a work­shop as a unit to store your [re­mains]. All of these peo­ple have been fill­ing these spa­ces with in­ter­est­ing things, and that’s what we ought to be cel­e­brat­ing. HK: What else should peo­ple know about the play? NH: So we’re do­ing it for char­ity, for a home­less char­ity group called Im­pact HK. They go to Sham Shui Po and feed the home­less on a fairly reg­u­lar ba­sis. The prof­its will go to that.

HK Mag­a­zine: What’s “The King of Fo Tan” about? Neil Har­ris: HK: What are those spa­ces cur­rently used for? NH:

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