HONG KONG – The stress of living in an expensive, cosmopolitan city can get to you all too easily, leading to burnout, or perhaps even worse – the sacrificing of your own values for the sake of your own success, as you step on others to get ahead in the rat race. That is the core message at the heart of Windmill Grass Theatre’s The Restaurant, which played earlier this month, which follows the exploits taking place behind the scenes of a high-end fine dining restaurant in the city.

If anything, the show seems to have struck a chord with locals in Hong Kong, having every single show sold out weeks ahead of the run. That’s a good thing, of course, suggesting that the work Windmill Grass produces continues to be relevant, and certainly has strong emotional resonance. Speaking to Windmill Grass Theatre co-founders Edmond Tong, Joey Leung and Luna Shaw, all of whom also star in The Restaurant, we found out more about the Hong Kong theatre scene, and the continued excellence produced by the company.

“I think that those working in the restaurant scene really reflect what it’s like in Hong Kong – everyone is so driven by the economy and stuck in this rat race of trying to earn more money and reach a higher standard of living – but it’s really just a hollow dream,” says Edmond, who also wrote and directed The Restaurant. “All of us have our struggles in such a high-pressure environment – deep down, we want something simple, but we can’t be simple in this city, which pushes you to your limits. “

“More than that, you might see someone who is very elegant and posh on the outside, but this is someone who has sacrificed a lot – either in their own life or someone else’s, such as the character of Luna in the play. She’s someone who has to win at all costs, and while there are many ways to achieve success, oftentimes you’ll end up putting yourself through hell to get there. Why pursue the dream and climb and suffer so much? That’s the main inspiration behind me writing a story like this.”

On the metaphor of the restaurant itself, Edmond speaks about his own experiences and observations dining out. “A restaurant is a space that allows you to access and understand different cultures—how they serve you, the food they recommend to you…there’s a kind of language in the restaurant, on the table and in the kitchen,” he says. “Whenever I dine out, I look at things like the interior design, and consider what kind of atmosphere is being created, from how you are welcomed or the way the menu is styled to even the cutlery. Some restaurants are more free and easy, but in Hong Kong, where so many are chasing the Michelin-standard, many end up being pretentious and putting on a front, and you feel it’s very cold and fake.”

“When people are trapped in a tiny space like a restaurant and want to get what they want, they end up hurting others in the process, by being cruel. In one of my last lines, I ask another character – “Do you remember the first time for an interview, and I asked you a question? What was the question?” The answer is that all of them are looking for a good job, and a good future for their family. But at some point they forget that, and forget their family in the pursuit of success, which is reflective of the Hong Kong spirit,” says Luna.

While Windmill Grass Theatre has been around for over 20 years now, its founders are still figuring out new things, such as how playwriting is relatively new to Edmond – but something that he has found a keen interest and passion in. “I only started writing a year or two ago, and I wasn’t confident in writing my own script because I initially never thought I’d become a playwright – I just wanted to make threatre,” says Edmond. “Over the years, I’ve met friends in the industry and followed their own stories and careers, and it’s been inspiring me to write stories too, about real Hong Kong people and their lives.”

“We really never set milestones or goals for ourselves, but if anything, to show that we are still going strong, and to keep representing ourselves in the theatre scene. We aren’t here to write a show that’s meant to please people, but neither are we here to spread a message – we’ve been very lucky to be able to do the shows we want for 20 years now, and how we’ve always stuck to our kinds of shows that focus on sincerity and honesty,” he adds. “We are bringing humanity, something thoughtful to this city, and as a small company, we can be our own boss, doing what we think the Hong Kong people want to see, whether a farcical comedy or a drama like this, where we continue to follow our hearts and create something real. We’re not chasing awards or rave reviews, we’re here to keep making shows and to say something to our audiences, and it’s made us very proud of all we’ve achieved.”

On the future of Windmill Grass, and Hong Kong theatre in general, Edmond sighs and believes that while it is positive, it remains very much an uphill climb. “There are so many arts graduates every year but most companies don’t have the budget to hire new actors or staff. Windmill Grass is about creating opportunities for ourselves, but we want eventually try to pass on that opportunity to others as well,” says Edmond. “We cannot do everything, and we need companies and partners and fresh ideas and vision, to come together and collaborate and create, regardless of age. That is what being a theatremaker is all about.”

“I do wish that one day we can have our own theatre space and venue, which gives us even more freedom to do what we want, especially when it comes to stagings and restagings and development. But in Hong Kong, space is so limited, and runs can only last so long before we close, and there really is very little time to develop it further,” he adds. “There are so many Hong Kong audiences who wish to escape rather than use theatre as a space to reflect, and I hope that the audience learns to appreciate that aspect again, which is why I write in Cantonese, which is why I hope our plays mean something, that they are real and honest and provide food for discussion and reflection, and form some kind of emotional reaction to what’s happening onstage, whether they laugh or cry, and that’s what keeps me going.”

“Theatre is an art form that really encapsulates everything, from music to stories to language, and now with our own scripts being staged, I think our ideas are finally coming to fruition. I hope we can continue to stand strong and tell stories and pass on this world to the next generation, who will face a brand new set of challenges from what we did when we started out 20 years ago,” says Luna.

“I do hope there is some kind of artistic and educational aspect to the show – we keep it minimalist so people focus on the script and what it’s about, rather than having them expect to be entertained all the time,” says Joey. “In the theatre industry, these are just some of the many difficulties we’re facing, but both now and forever, I hope that we can remain bold, brave and good people who continue to make work that speaks to our audiences, and speaks for our audiences. I hope I can keep doing this and it only gets better and better, and that as Windmill Grass, we keep producing powerful work that stays in people’s heads for the long run, and gives them pause, and space to think and feel.”

The Restaurant played from 28th November 2024 to 8th December 2024 at Kwai Tsing Theatre. More information available here