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Travel restrictions because of the pandemic has put paid to that part of the programme this year, but Cottier’s presence in Hong Kong has brought some solace to those missing out on a London experience.

Cottier, who arrived in Hong Kong in October, has been leading rehearsals for a cast of 15 who were selected after an audition on Zoom. The play focuses on the three women who ruled England during a series of English civil wars called the Wars of the Roses (1455-87): Margaret of Anjou, Elizabeth Woodville and Anne Neville. Their stories are adapted from English playwright William Shakespeare’s Henry VI series and Richard III.

The play offers Hongkongers an opportunity to receive intensive training in acting, voice and combat, Cottier says, who adds that he likes working with young people because of how they “dive in fiercely”. “Every time you do [Shakespeare], you’re doing it with a different group of actors who are going to bring different stuff to the table,” he says.

Live performances resuming in Hong Kong: here’s what’s on

As for #Hashtag, writer and HKYAF founder Lindsey McAlister says she came up with the idea for the play in February, when the first coronavirus wave in Hong Kong was just beginning to crest. Rehearsals for the play, which involves 25 teenagers, began virtually on Zoom in August. The way the play has been designed has taken that into account.

“At the moment, it’s sad for the arts, because so many things have been postponed, and so many things have been cancelled,” McAlister says of bringing the play into fruition. “We just wanted to make something happen.”

The plot of #Hashtag revolves around five social-media-savvy teenagers in an online chat, who all slowly come to realise that they don’t really know the people they have been interacting with. “Many people don’t live in large flats in Hong Kong, so the choreographers [had to be] mindful of the fact that people were learning choreography in small spaces,” she says. “Fortunately, we were able to resume our rehearsals in person in September.”

Lynn Yau, the chief executive officer of Aftec, says these are tough times for youth theatre. “The whole art sector is experiencing an income crisis. Because schools closed, our theatre venues closed [and] there has been no income,” she says. “But people in the art world like us, we always want to take the opportunity to rise above the occasion. We cannot just give up, this is not acceptable. We must do even better. Somehow, we will find a way.”

Still, both McAlister and Yau say they remain optimistic.

“Hong Kong is a cosmopolitan city. As much as we are part of China, we need to be international. Maintaining foreign languages in Hong Kong will really give an edge to our young people,” says Yau, who adds that the theatre training that Aftec provides is not just about learning English. “It’s not about languages. It’s not about ethnicity. It’s not about the school system. It’s about whether you have the commitment and the passion to reach a high standard.”

McAlister agrees. “Hong Kong is a very international, lively, vibrant and dynamic place. I think there’s room for everybody, so even though the education department may encourage an interest in Chinese culture, I think there’s still a hunger for lots of different cultures, whether it’s English or different cultures from all over the world.”

#Hashtag, Hong Kong Youth Arts Foundation, Shouson Theatre, Hong Kong Arts Centre, November 19-21

Three Queens, The Absolutely Fabulous Theatre Connection, Sai Wan Ho Civic Centre Theatre, December 4-6

This article appeared in the South China Morning Post print edition as: Youth theatre groups return to the stage

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