Director & Choreographer：
Wong Kwan Sun


Assistant Director：
Chiu Wai Piu


Producer：
Leo Cheung, Mathias Woo


Production Co-ordinator：
Terence Yeung


Stage Design：
Danny Yung
 


Technical & Lighting：
Eddie Lam


Costume：
Thomas Chan


Sound：
Yu Yat Yiu, Pun Tak Shu


Posters & Flyers：
Glenis Wong, Ivan Chan


Music Video：
Ernest Fung

 

Performers：
Ivan Chan, Louisa Ma
Joey Chan, Jessie Pak
Amy Choi, Bobby Sham
Rachel Chow, Janet Tong
Carson Chung, Josie Tam
Pia Ho, Denny Wong
Lai Tat Wing, Glenis Wong
Yvette Lau, Janet Wong
Sarah Law, Millie Wong
Eben Lui, Roger Wong
Cissy Luk, Yu Wai Leung
Cifford Ma 

  
15-16 Even Better Than The Real Thing
Concert Hall, Hong Kong City Hall
2-3/11/1994

Presented by Asia Arts Festival 94
Produced by Zuni Icosahedron 



Since antiquity, the essence of creativity is the passage from have-not to have. The process entails the clash between the old and new, changes in human affairs, the meshing of love and hatred, even psychosis and neurosis. Numerous imitations, experimentation, training, changes, reformations and elimination will go into it. In the end there is self-justification, self-indulgence, or transcendence. This is a journey that all creators and performers must travel on. The audience will get from the work recognition, understanding, imagination and some kind of critique.

To find one' s position on the tightrope of explicit and implicit expressions, the audience must, to a larger or lesser degree, rake and shake their brains.

Mr. Wong, creator of Even Better Than the Real Thing, says that the show is produced with an attitude of high-seriousness. There is planning, conspiracy and strategic deployment. The whole thing is commendable.
 

Regarding the nature of the production, Mr. Wong says that everything about it is real and genuine. Every performer would give his or her very self and very best. He also will not rule out that too much enthusiasm may result in a confusion between life and drama, affectations and real emotions.
 

On choreography and movement Mr. Wong confesses that, a believer in laissez-faire in creativity, he allows the performers absolute freedom. On witnessing their desire to perform reaching its pinnacle, he comes in and makes amendments. Thus, all reformed movements have the merits of precision and a brisk rhythm.
 

Concerning sound and lighting, Mr. Wong says he does not have much choice. He will certainly use U2's Even Better Than the Real Thing, as well as The General's Command.
Everything will be bright and loud. The audience will see and hear very clearly.
 

Mr. Wong is also of the opinion that the audience, after attending a 15-16 Even Better Than the Real Thing performance, would experience tightening of muscles (especially in the face and jaws, enlargement of the pupils), nervousness and excitability, rise in blood pressure, sweaty palms, though their minds will be crystal clear. Members of the audience who fail to experience such sensations are welcome to attribute the deficiency to the production's multi-foci nature, making it difficult for them to concentrate. 
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