Panasonic proudly sponsors "Ambiguous" | Matthew Cheng’s celebrated masterpiece | An encounter that begins with a "quick peek"

Panasonic proudly sponsors Ambiguous
“Stealing a look” leads to a chance encounter
Ripples that emanate from everyday life pose questions
on marriage and relationships

 
【HKRep】Sometimes a chance encounter creates ripple effects in otherwise ordinary lives. A man and a woman stand outside a kindergarten, each bearing family responsibility and the burden of their marital relationships. As their eyes meet in silence, a connection grows. Behind such an ambiguous bond are questions on love, marriage and relationships. Following The Last Supper and Auspicious Day, playwright Matthew Cheng joins forces again with director Fong Chun Kit to delve into the meaning of spousal relationships, inspiring the audience to ponder the system of matrimony. Ambiguous premiered in 2021 to great acclaim; standing room had to be added due to audience enthusiasm. In 2022, it won both Best Original Script and Outstanding Production of the Year at the Hong Kong Drama Awards, and Cheng was crowned Best Playwright the following year at the Shanghai One Drama Awards. Ambiguous was selected in 2023 as one of the cinematic offerings in “HKRep on Screen” not only in Hong Kong but also in Beijing, Guilin and Shenzhen, garnering much praise. Delighted by audience demand in multiple cities, the HKRep has decided to revive this production. Matthew Cheng’s Ambiguous is directed by Fong Chun Kit, featuring Lau Shau Ching, Yiyi Zhao, Mercy Wong and Chow Wai Keung. The production runs between 13^th and 22^nd September at the Hong Kong City Hall Theatre. Due to the overwhelming response, an additional performance has been scheduled for 18^th September at 2:45 pm. Tickets are available now from URBTIX outlets. This production of Ambiguous embarks on a tour of Shanghai and Beijing the following month. 
 
Ambiguous: Stay-at-home husband Chan Chi Yung and housewife Wang Xia meet at a chance encounter outside a kindergarten. Every day they enjoy casual chats, and a faintly discernible yet ambiguous relationship develops. The world of married couples does not always feature high drama. Snippets of daily life that appear normal and cordial may harbour heinous undercurrents. Will a sparrow that accidentally falls on the ground stay entrapped in its relationship? Or would it embark on an escapade?
 
Playwright Matthew Cheng shares his thoughts: “When I have time, I look at social media on my mobile phone. Today I found a posting from a woman. She asked, ‘Give me one advantage of marriage, just one.’ My eyes popped out, and a line spoken by my character Chan Chi Yung—‘Human beings shouldn’t marry!’—rang in my ears. I was tempted to post a reply, but I didn’t have to, since we share the same opinion!
 
There’s a school of thought that claims matrimony is what differentiates human beings from animals, that we are unique in having a soul in addition to animal instincts. I do like this interpretation that humans possess a higher level of spirituality: it’s a way of elevating ourselves, of proving we have surpassed lower forms of beings. Yet we cannot shake our animal instincts. We cannot avoid behaving just like animals because of our biological constitution. Personally, I believe modern matrimony cannot elevate the human soul. On the issue of animal instincts, that’s even more of a misnomer. In 1950, China defined matrimony in its national law as a monogamous relationship between a man and a woman. After much deliberation, I wonder if marriage is something that makes it infinitely easier for governments to govern. Now in the year 2024, how many people agree with Chan’s pronouncement about marriage?”
 
Director Fong Chun Kit states, “From the stage to the screen, Ambiguous not only reaches different types of audiences, but also allows us to appreciate how the camera captures close-ups and how audiences are touched by what they see. All this makes me rethink how we can more effectively amplify actors’ stage performances in the theatre setting. 
 
This story captures a condition that’s very hard to describe, because it addresses a relationship that exists beyond what words can express. For me, this play is also imbued with “ambiguity among three men”—it is the third collaboration among Matthew Cheng, Lau Shau Ching and me. We started with The Last Supper, then Auspicious Day, and now Ambiguous. We’ve established an intangible bond, we don’t need to resort to verbal language. I’m convinced that as long as the three of us work together, sparks will fly.”
 
About Playwright   Matthew Cheng
Before graduating from the Hong Kong Academy for Performing Arts with an MFA in Playwriting, Matthew Cheng won the Academy’s Outstanding Script Award. In 2002, he received the Best Script Award at the HKRep “Here and Now” competition for local plays for his work The Bloody Hell, which also won him Outstanding Young Playwright at the 12^th Hong Kong Drama Awards. His February 14 – a musical was nominated for Best Script at the 15^th Hong Kong Drama Awards. In addition, Cheng’s on-stage performance in Take This Waltz won him Best Supporting Actor (Comedy/Farce) at the 16^th Hong Kong Drama Awards. In 2007, he received the Young Artist Award (Drama) at the Hong Kong Arts Development Awards. In 2016, The Sin Family—which toured Beijing, Shanghai, Tianjin and Guangzhou—was nominated for Best Script at the 25^th Hong Kong Drama Awards. In 2019, Auspicious Day was nominated for Best Script at the Hong Kong Drama Awards and was a finalist for the IATC(HK) Critics Awards the previous year. In 2022, Ambiguous won Best Script at the 30^th Hong Kong Drama Awards and the following year, Cheng was crowned Best Playwright at the Shanghai One Drama Awards.
 
Cheng’s most celebrated work, The Last Supper, won Best Script at the 21^st Hong Kong Drama Awards and 4^th Hong Kong Theatre Libre Awards in 2012. The play also received an Award of Excellence at the 9^th Chinese Drama Festival in 2014. It was lauded by Time Out (Beijing) and The Beijing News among 2013’s “Best Ten” and “Best Six Productions” respectively. Apart from four production runs in Hong Kong, the play toured Kaohsiung, Singapore and more than 10 cities in the mainland including Beijing, Shanghai, Guangzhou and Tianjin. To date, The Last Supper has received more than 100 performances and has already been translated in French and Korean, as well as adapted in Putonghua. In 2019, The Last Supper made its Korean-language premiere in Seoul by the Windgrass Theatre Company, receiving Best Production at the 7^th Seoul Theatre Artists Awards. The Last Supper was selected among the “40 Most Influential Works in Chinese Contemporary Studio Theatre” in 2022.
 
Recently, Cheng has been active on the Taiwan theatre scene, participating in such productions as Our Theatre x Theatre Space’s The State & Denki  that toured Taipei and Tainan, also Chen Wen-Chen’s Proof. He co-wrote Work Out Collective’s Moving On With Lute Song.

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