Review: LAUGH VACATION at The Lyric Theatre, Hong Kong Academy For Performing Arts

Laugh Vacation, a local Hong Kong theatre piece produced by Dharma Workshop, opened at the Lyric Theatre, Hong Kong Academy for Performing Arts, on 27 October, before closing on 11 November. 

Set in the fictional “Hon Kon Grand Sea View Hotel” that has been in operation for half a century, the musical tells of the desperate measures implemented by staff to make the final night of business a successful one. With school graduation events, wedding banquets, cosplay afternoon teas, wedding anniversaries and many more, the hotel is once again ‘fully booked’ and brimming with guests. After checking in, the production takes audiences members along for many heartwarming, funny and unforgettable vacations!

Prior to seeing the show, I was not aware of the storyline. Only knowing it was a comedy, and that some friends who had been really enjoyed it, I was keen to see what was in store!

As I waited to enter the theatre, I kept hearing a lot of chatter around me: “193 is so good in this production!” “He’s so funny!” “I’m here to support 193!” But for someone who is not familiar with Hong Kong pop culture and doesn’t follow mainstream celebrities and entertainment, I had no idea who this “193” was (Apologies to the fans!). Doing a quick google search as I sat in my seat, waiting for the production to start, that’s when I found out he’s part of a recent and popular Hong Kong boyband called ‘Error’. Hong Kong celebrities often have multiple identities as the industry has an old habit of pushing individuals to be triple threats covering singing, dancing and acting; or at the very least, singing plus acting in both film and television. Having zero knowledge about Error or this “193”, I must admit, I did have a hint of skepticism going in, thinking this was just another stunt casting to sell tickets. However, soon after the performance started, I was proven wrong. “193” Denis KWOK who had his theatre debut with this production did an really impressive job. He demonstrated great comedic timing throughout, and with this production being an interactive one that invited audience responses, Kwok did a great job of engaging audience members, making the atmosphere really relaxed and joyous. In addition, the more tearful, emotion scenes were also handled really well by Kwok, proving that he is quite the all-rounded actor. However, one thing that could be worked on was the elocution - in moments where multiple actors are talking at the same time, and energy levels are high, it can sometimes make it difficult for audiences to hear the dialogue. Despite this, I think Kwok’s performance is already very promising, especially for a theatre debut.

Standout performances, unsurprisingly, came from CHU Pak-Him, Rosa Maria VELASCO and Alan YEUNG. Previously, I had seen CHU in Murder in San Jose (2021) so I thought I knew what to expect: “experienced theatre actor, solid acting skills, will deliver a good performance…” But again, I was wrong! Seeing him in this comedy production was such a thrill, and I definitely underestimated his comedic talent! Chu gave a brilliant performance, particularly as the teacher and the character of ‘Mr Chu’. The scene he had with Velasco, portraying the exhausted married couple was particularly amusing, and I’m sure many audience members found it very relatable. Chu’s performance as the teacher, vying for student nominations to win best teacher award, was also an absolute joy to watch.  

For me, this was also the first time seeing Velasco perform. Friends and colleagues, who are either local Hong Kongers, or have lived in Hong Kong far longer than I have, had seen her previous work and had been raving about her for some time. I, on the other hand, being a bit late to the HK theatre scene had yet to see her on stage. All I can say is that I am now gutted to have missed out on her previous works. Velasco has such a strong yet seemingly effortless stage presence, with an indescribable charm and charisma that draws audiences in. In addition, through the multiple roles she takes on in this production, you can see exactly how versatile she is as an actor. My favourite portrayal from the production is the ‘elder sister’ from the wedding banquet scene. Simply unforgettable! 

Yeung, who many will be familiar with his recent work in the movie "The Sparring Partner", gave a fantastic performance as student Yeung and the lead tour guide. His comedic timing is brilliant but what I found impressive was the way he handles the self-deprecating humour, pulling off even the sensitive and risky jokes. (Also, fantastic dance moves! A natural dancer!)

Notable performance also comes from Michael NING. His portrayal of Mrs Yeung was comedy gold that had audiences laughing out loud, but what really stuck with me was his character of Keung Gor, the elderly man. The voice manipulation was superb and made the performance so compelling.

Last but not least, special mentions must go to SIU Wai-Man for the set design, and FUNG Chin-Lung for the sound design. Throughout the production, audience members were blessed with many beautiful scenes and sets, one after another. One of the more recurring set designs would be the Gatsby-esque hotel that was so visually gratifying - glamours and decadent, it was as if audiences were transported back to the Roaring 20s. Besides the grand hotel lobby and presidential suites, all the rooms, function halls, and gardens were all really well thought out, each with it’s own unique decor and colour schemes. This really is a no-expenses spared production! Fung does a great job with the sound design, from the vacuum and car horn sounds pre-performance that help transport audiences into the hotel environment; to the song selections and the barbershop quartet transitions. Here, special shoutout also goes to cast member Donald Chan who, besides giving us amazing performances through his various roles, the nostalgic trip down memory lane with his smooth saxophone solo was a delightful surprise!

Though, overall, the scenes in this musical do not relate to one another, through each of them, we are able to explore different themes involving curiosity, greed, desire, love, relationships, family pressures, and the need for rest and respite. In a busy and fast-paced environment like Hong Kong, i’m sure many audience members found their own personal connections to the characters and storylines. The casting for this production is of an incredibly high calibre, with were many unexpected, yet wonderful surprises throughout.

I am so glad I bought a ticket and got to the chance to see this production before it closes. Many congratulations to Dharma Workshop, the writers CHAN Siu-Tung and Melody YUEN, and the entire cast and crew of this production - a thoroughly enjoyable piece of theatre, and I hope it runs again soon! 

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