The Orpheus Cabaret presented by Hong Kong Ballet on Eaton HK’s terrace was viewed from above by a socially-distanced audience. (PHOTO PROVIDED TO CHINA DAILY)

Since Katherine Lo transformed Eaton HK into a hip hotspot for inclusive cultural exploration around two years ago, the hotel has hosted a regular roster of creative experiments. Through the Looking Glass, staged in a socially-distanced format over two afternoons in April, capitalized on the hotel’s advantages.

With 465 guestrooms laid out in a V-shape configuration, approximately half of them face an expansive triangular terrace that acts as an extension of the hotel’s bar, Terrible Baby. The setting allowed guests to view shows from the comfort of their rooms, using the television’s in-house channel to feed in the act’s live or recorded music. 

“Through transforming our hotel into an actual theater and repurposing our Terrible Baby terrace into a stage, and our rooms into theater boxes, we are actualizing our goal of being a mixed-use space that benefits the community,” said Lo. “We were able to support not only Hong Kong Ballet, one of the city’s best-known cultural assets, but those who have craved access to culture for so long.”

Through the Looking Glass comprised three mini performances: soloists from Hong Kong New Music Ensemble; Jabberwocky Mirror, an experimental dance conceived by Constantin Leu, choreographed by Sudhee Liao and co-presented by Alice Rensy Productions; and The Orpheus Cabaret by Hong Kong Ballet. 

Guests were treated to wine and light snacks for the matinee performance as the in-room television screen counted down to the show’s commencement. The ambience captured the feeling of being in a private box at the theatre. 

First up was HK New Music’s violinist Patrick T.S. Yim, performing in the northwest corner of the terrace. Although the live feed was slightly delayed, the enjoyment of pieces by Bach and Chan Kai-young was enhanced by the comfort and space of a private room. 

Sudhee Liao created Jabberwocky Mirror specifically for a performance on Eaton HK’s terrace. (PHOTO PROVIDED TO CHINA DAILY)

Jabberwocky Mirror utilized the entire terrace. The dance piece was designed for viewing from above. The four dancers unfurling long sheets of light-reflecting material as they snaked above and around patio furniture looked like a Christo installation come to life.

The next piece was staged in the southeast portion of the terrace. Loosely based on the tale of Orpheus and Eurydice from Greek mythology, the show transports the doomed lovers to the underground setting of a secretive S&M enclave. The bold costumes reinforced a sensual edge to the tragedy. 

“The Orpheus Cabaret is an epic story, and the audience, viewing the work voyeuristically from their rooms, got a kind of bird’s-eye-view,” noted Septime Webre, Hong Kong Ballet’s artistic director. “It made the proceedings a bit sexier — like peering into a private bedchamber through a keyhole. The vivid red costumes for Orpheus and the gothic leather and latex costumes for the citizens of the underworld gave a graphic look to the proceedings.”

 “I really wanted HK Ballet to be part of the fun in Jordan,” he said. “It was a challenge to figure out how to activate Eaton’s beautiful terrace and ensure that audiences could actually see the work, given social-distancing rules. Eaton’s idea to have the guests watch from their rooms was a brilliant solution.” 

Chantal Wong, culture director with Eaton HK, revealed that the show’s logistical challenges included the possibility of rain and syncing sound to movements seamlessly, which was resolved by using a 150-meter wire to connect the terrace to the control room.

“We designed the program to have three parts,” noted Wong. “We believe it is important to support new creations by young local artists, so Jabberwocky Mirror was specifically created for the terrace by Sudhee Liao.”

Webre indicates that HK Ballet will continue to find unusual ways to present works even after the troupe is back in theaters. “As people, we seek human contact. As the situation improves, we yearn to be close together again,” he said. 

Wong is also exploring other creative ways to mount shows: “I’m already discussing the next Movement Festival with co-founder Alice Rensy. I am excited about reframing what is possible within performance, going forward —coming up with new and imaginative ways to create dance in a socially-distanced world.”