Story
The descendants of Noah, “The Mischievous Shepherd Duo" Ah Lo and Ah Po, live together with their beloved chubby sheep. On Christmas Eve, their chubby sheep is unexpectedly stolen by the “Flash Sheep Thief" Ali-Haha. As the duo embarks on a quest to find their sheep, they encounter the heavily pregnant Mary and help her evade the pursuit of King Herod’s henchman, Ah Cha. Beneath the starry skies of Bethlehem, Ah Lo, Ah Po, Mary, Ali-Haha, and Ah Cha set off on their respective quests, embarking on a thrilling yet joyful, colorful yet touching Christmas adventure.
Director’s Notes:
Big Events, Small People
In March of this year, Olivia (Yan Wing Pui) invited me to direct a children’s play set for the end of the year. While in New York at the time, I began pondering—what kind of children’s play should I direct? What themes? What story? Why perform during Christmas?
Reflecting on Christmas and its connection to the production, I naturally thought of the biblical story of Jesus being born in a manger. I believe most Hong Kongers are somewhat familiar with this tale. Why does the church retell this story in different forms every year? It serves as a commemoration, a tradition, and a reminder. Biblically, the stories have long nurtured children’s understanding of the world. Within them, characters wrestle with God, battle adversaries, face the ups and downs of life, and encounter grace, mercy, and curses. In the Christmas narrative, Mary conceives as a virgin, Joseph the carpenter becomes Jesus’ earthly father, and three shepherds witness the birth of the new King. Grace, miracles, and wonders come upon the humble and small. Initially, these characters never imagined such miraculous events would happen to them, ordinary people. What they sought and what they ultimately found were worlds apart.
In Hong Kong, the fast-paced lifestyle revolves around the word “search." Parents tirelessly search for ways to make a living, find good schools for their children, ensure their kids grow up to secure good jobs, eventually find a stable home, and at the very least find their next meal. They are constantly wary of being exploited or “used.” Searching becomes everyone’s daily routine—some are clear about their goals and methods, while others are impulsively driven. What we search for may evolve into a journey of finding meaning in life.
Reflecting on my time in New York—a global metropolis—and being in close contact with theater professionals from around the world, I had the privilege to meet masters in the field. Our meetings weren’t held at high-end restaurants but at nearby Dunkin’ Donuts. We weren’t sipping high tea but drinking instant coffee and eating chocolate donuts. These chance encounters happened often. Coming from Hong Kong, growing up in an old district, fortunate enough to study at the Academy for Performing Arts and graduate, I’ve weathered ten years of a theater career, gaining a scholarship to study theater arts abroad. For someone with a humble background, the chance to cross oceans and meet masters is something unimaginable. Who orchestrated these wonders in my life? What was I meant to learn and discover through these experiences?
Christmas is supposedly a universal celebration, and entertainment naturally plays a part in it. Yet, I observed varying perspectives on Christmas. America, founded on Christian principles, paradoxically refrains from openly celebrating Christmas religiously. Most stores no longer display “Merry Christmas” but have shifted to “Happy Holidays.” While enjoying holidays, consumerism, and parties, there’s a simultaneous denial or refusal to acknowledge the existence and meaning of faith. Perhaps this ties back to belief, but without accepting Christ’s birth over two millennia ago, what significance does Christmas hold?
Churches celebrate Christmas in their own ways, but modern interpretations of Christmas often connect the holiday to miracles and dreams. This is embodied by figures like Santa Claus or Dickens’ Christmas Carol. The tradition of gift-giving creates surprise and wonder. Everyone hopes to make the holiday special, seeking unexpected joys—romance for couples, companionship for the single, a family meal for parents and children. Sometimes, these miracles and dreams don’t resemble the “unrealistic” Hollywood or Disney fantasies but are much more grounded. Of course, theater without theatricality risks being mundane. But for children’s drama, what makes it truly theatrical?
Noah’s family endures ridicule while building the Ark and ultimately finds salvation. Abraham, blessed with a child late in life, shows faith by offering him as a living sacrifice, and is rewarded with descendants across the earth. A timid Moses becomes the leader who frees the Israelites from Egypt. David fells the giant Goliath with a stone. Joseph, sold into slavery, rises to become a governor. How often do real-life heroes emerge in everyday situations? Most remain within the realm of fantasy. Perhaps influenced deeply by American heroism, we magnify self-importance, forgetting we are humans, not heroes.
Why I chose biblical stories as the foundation for a children’s play during Christmas:
- Without these stories, there would be no Christmas.
- The narratives feature themes, characters, and the creative space to interpret them. These miracle tales carry traditional significance, connecting various artistic mediums like musicals or street performances.
- Exploring biblical stories opens new possibilities beyond the scope of simple “gospel preaching."
- Can we attempt to stage children’s theater without “playing" children’s roles? Perhaps this isn’t children’s theater but thematic theater for the occasion.
- Adults also yearn for miracles and dreams. Many harbor fantasies, seen in how adults enjoy Disney or flock to Harry Potter. These aren’t mere childlike sentiments but moments to escape reality. Even I, visiting Disney, felt transported to a seemingly ideal world—a fantasy constructed artificially. It tricks you into believing it’s a utopia, but returning to the real world, especially America, reveals the illusion’s discomfort.
- Years ago, I watched Mr. Colin’s Looking for Rainbow at the Academy—a fantastic play that left a strong impression. Perhaps it subconsciously influences our creative approach. But it doesn’t matter; time, place, and people differ. I will forge my own path.
Production of Theatre Ensemble
14 Dec 2007 – 1 Jan 2008 / Shouson Theatre, Hong Kong Arts Centre, Hong Kong
Deviser and Director: Indy Lee
故事
挪亞的後裔「反斗牧羊二人組」阿佬與阿寶，與小小小肥羊相依為命。在平安夜晚上，小肥羊竟被「快閃偷羊賊」亞里哈哈偷去。二人組在尋找小肥羊的路上，遇上腹大便便的馬利亞，還幫助她避過勞騷王希律的手下阿渣的追捕。在伯利恆的星空下，阿佬、阿寶、馬利亞、亞里哈哈和阿渣，各人向著尋找的目標出發，展開一場驚心又開心、繽紛又感人的聖誕冒險之旅。
導演的話
大時化 小人物
今年三月，Olivia (甄詠蓓)找我導本年年底的一個兒童劇。當時，身在紐約的我，便開始苦思我應該導一個什麼樣的兒童劇。什麼主題？什麼故事？為何要在聖誕節期間上演？當我在思想聖誕節和演出的關係，自然，聯想到聖嬰降生馬槽的聖經故事。我亦相信，香港人或多或少也聽過這故事。為何教會每年也會用不同的形式，將這故事再說一遍？是一個紀念，一個傳統，一個提醒。回到傳統，聖經故事早就是培養兒童認識世界事物的戲劇。內裡的人物，與神角力，與人為敵，人生中有起有跌，有恩典有憐憫也有受咀咒。在有關聖誕的故事裡，馬利亞是童貞女懷孕，木匠約瑟成為耶穌在地的父親，三個牧羊人見證新生王降世。得到恩典，神蹟奇事降臨在其身上，也是微小和謙卑的人。起初，他們沒有想過這奇妙的事情會發生在他們這些小人物身上。在人生的路上，所想尋找的，與他們真正尋見的是意料之外。
在香港，生活的節奏急速，來去怱忙，少不了是因為一個了「搵」字。爸爸媽媽要每天忙「搵食」，幫仔仔女女「搵間好學校」，待大個畢業後可以「搵份好工」，出人頭地後可以「搵個好歸宿」，或許，至少可以「搵倒餐晏仔」。當然，更要提防被人「搵笨」。尋找找尋就是每人每日的必然動作。有的清楚目標方向方法去找，有的一鼓作
們尋找人生的意義變成
回想我當時身處在紐約，從一個國際都會旅居於另一個國際大都會。親身接觸來自世界各地的劇場人。有幸與大師級人物單獨見面，我們的相約的地方不是什麼高級餐廳，而是梗有一間係左近嘅Dunkin Donut。飲的不是High Tea而是普通的即沖咖啡，食的是朱古力甜圈。這樣的偶遇，及後也經常出現。一個來自香港在舊區長大，有機會考進演藝學院更順利畢業，在半帶點風浪下，走過十年的劇場生涯，幸運地拿到了獎學金到外地考察劇場藝術。從一個小人物的背景出身微小的我，竟有機會越洋過海親身接觸大師們，對我來說，是一件難以想像的事。當中是誰作出這奇妙的安排？又要我在經歷和尋找當中要得到什麼學到什麼？
聖誕節是一個所謂普天同慶的日子，娛樂節目自然是少不了。我亦觀察到其他人對聖誕節的看法。美國是一個以基督教立國的國家，諷刺的是你不能很公開的去用宗教的方式慶祝。大部份的商店不再張貼聖誕快樂的字句，而是改為節日快樂。一方面可享有放假消費開派對的甜頭，但另一方面又拒絕接受或承認信仰的存在和背後的意思。或許，這是牽涉信仰的問題，但若不信基督在二千多年前降生，那聖誕節會是有什麼意義呢?
教會自有其慶祝的方法，現代人對聖誕節的理解或多或少也與奇蹟夢想聯繫起來，創造出來的聖誕老人是其代表，狄更斯的Christmas Carol亦然；互送禮物，給予驚喜。每個人總想在這節日裡可以過得特別一些，多一點意外收獲。情人想要浪漫，單身想要個伴，一家大細想齊齊整整的吃餐飯。或許有時候要的所謂「奇蹟夢想」，沒有像荷里活電影狄士尼卡通的「不設實際」；其實是很Down to Earth的。當然，戲劇沒有戲劇性，會有點乏味沒趣。但對於兒童的戲劇，什麼才是有戲劇性。
挪亞一家受著人家的嘲笑來建方舟，因而得救。亞伯拉罕老來得子，但仍憑信心獻子作活祭，事後更被祝福子孫遍佈全地。膽小的摩西就是救以色列人出埃及的領袖，大衛以石擊倒巨人哥尼流，約瑟被賣為奴而反變作為宰相。試問真實生活中，有幾多時會碰上救世英雄，一切只有留在幻想當中。也許我們受到美國的英雄主義影響太深，自我中心加自我膨脹，忘記我們不是英雄本是人。
我為何選擇聖經故事來作為聖誕節的兒童劇的題材：
第一，沒有這些故事，便沒有聖誕節。
第二，這些故事有主題有角色，亦有空間去演繹。這些神蹟劇，有其傳統的意義，將其他類型的藝術媒體連繫起來，可以是歌舞劇，亦可以是街頭劇。
第三，如何演繹聖經故事是一種新的嘗試，是不是只局限於「傳福音」？
第四，可否嘗試不用「扮演」小朋友的角色來演出「兒童劇」？或許這不是兒童劇，而是應節劇。
第五，大人其實也需要一些所謂的奇蹟夢想，或他們也日思夜想著Fantasy。看在狄士尼裡玩得最開心的是大人，哈里波特的追捧者亦是大人，是童心或是找尋可以脫離現實的一刻。而事實，當我在狄士尼遊玩的時候，就像進入了一個所謂的美好世界，是人工得很的夢幻。令你以為這是理想的國度，但當你回到現實世界，唯其是美國，那種只是不可能實現的假象更叫人不自在。
第六，是多年前看過Mr. Colin在演藝導的雨後彩虹，是一個很好玩的戲。不難避免的是，我仍對演出有深印象，或許會影響我們創作的想法。但不要緊，時地人也盡不相同，我自求我道。
劇場組合製作
2007年12月14日至2008年1月1日 / 香港藝術中心壽匠劇院
編作及導演﹕李俊亮
INDY LEE 李俊亮 