61 years old, theatre maestro

Nobody represents Hong Kong modern theatre like Fredric Mao. With his smart suits, funky red specs and continual twinkle in his eyes, the thespian, educator and director has powered the development of modern theatre in the city.

“Of course I feel very complimented,” he says, when given the news of his nomination. “I won’t shy away from it, [but] I don’t want to say I am a Hong Kong Hero, I don’t know what it means! But I think it is a compliment to draw the attention to the public … that there are people who are proud of Hong Kong … and they can do things for Hong Kong, and whatever they do, no matter how big or small, be recognised. That is what I appreciate. “

“I very much identify with Hong Kong,” he continues. “The making of me is very much like the making of Hong Kong.” Born in Shanghai, Mao moved to Hong Kong aged ten, and spent his twenties in the US, studying for an MFA at the University of Iowa. Altogether he spent 17 years in the States, from running theatre companies to acting on Broadway. In 1985, Mao returned to Hong Kong to become the Head of Acting at the Academy for Performing Arts, where he inspired an entire generation of local actors, from Anthony Wong Chau-san to Jim Chim.

In 2001, he moved into the demanding role of Artistic Director at the Hong Kong Repertory Theatre, overseeing its move from a government-run facility to an incorporated company. One year later he was struck with cancer, yet successfully fought off the illness and returned to work. During his reign, Mao encouraged and shaped original Hong Kong theatre. His own work was equally praised; perhaps his most successful was his adaptation of Eiileen Cheung’s novel Love in a Fallen City. This love for original Hong Kong talent is evident in Mao’s choice for his own Hong Kong hero: Louis Cha, aka Jin Yong, possibly the city’s most famous writer.

While Mao left the post in 2007, he is still actively working for the good of Hong Kong theatre – currently drafting a research project for the West Kowloon Arts District, which he has decided whether to do regardless of whether the government accepts it or not. “We have to collectively share the same dream,” he says of the current scene. “In one dream there can be different things, many different kinds of theatre, that’s fine, no-one should do the same thing. But we should have the same dream for Hong Kong.” Clare Morin