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Reviews of A Many-Splendoured Thing
C Venues Reviews
26,27 August 2022
//I especially loved the scene with the tragedy and comedy mask. It’s such a creative and intimate way of expressing emotion. Not to mention, it’s kind of disturbing looking at those masks for a long period of time so it really adds interesting contrast and makes for a complex and intriguing production. //

//The individual components of this piece were poetic, and beautiful and proved immense talent. Though despite being moving to watch in their parts, I struggled slightly to connect the dots and engage with the piece as a whole. //

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Review: Practice of Zen (online)
24 May 2022
//Practice of Zen considers the traditions, practicality, sensuality, and strength of swordplay and resilience. Performed in Cantonese with Chinese and English subtitles, this piece by Theatre Ronin of Hong Kong brings back the spirit of Wuxia through folkore and emotional connection..//

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Reviews of Hoichi the Earless
C Venues Daily Reviews Sheet
5-9 August 2019

//What makes the show particularly accessible to the foreign audiences is its focus on music, which largely fills the show. Blending cultures, the Hong Kong-based company Theatre Ronin use traditional Chinese Nanguan music – performed live at all times – as the backdrop for their Japanese tale. It is simultaneously calming and frightful, creating a mysterious tmosphere suited for a story involving ghosts and graveyards.//

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PREVIEW: Theatre Ronin (Hong Kong) – Hoichi the Earless
Deadline News
23 July 2019
By Liam Ross
//Transporting the audience to medieval Japan, this wonderfully suspenseful reimagining of Japanese folklore fuses traditional Chinese *Nanguan live music and songs with innovative storytelling and elegant physicality. The performance is accessible to all audiences, with the adapted text complemented with English and French surtitles.//

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Hoichi the Earless
9 Aug 2019
Damian Beeson Bullen

Script: ★★★★ Stagecraft: ★★★★
Performance: ★★★★ S.O.D: ★★★★★

//The best theatre at the Fringe, the most diverse especially, comes from C venues. Hoichi the Earless stood out of the program at once, a Japanese folk-tale I’d come across with some wonder during my studies into oriental literature.//

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Hoichi the Earless
9 Aug 2019

//Themes of humility, vanity, greed and hypocrisy are explored to quietly devastating effect. A beautiful, understated and powerful treat//

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Hoichi the Earless (we like)
28 July 2018
By Johan Barthélemy
// This Japanese horror tale is adapted by Hong Kong producer Alex Tam whose love for France convinced him to perform the piece at the festival. “I wanted to come here with my company, and that’s also a way to make a name for ourselves” he explains. “Hongkongers playing Japanese in France, how exotic!” Alex Tam laughs. //

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TouteLa Culture
25 July 2018
By Magali Sautreuil
//For its first appearance on the French scene, in Avignon, the Hong Kong-based company Theatre Ronin offers a dark and enchanting tale of the Japanese folklore: “Hoichi the Earless”. This horror story will transport you to medieval Japan while making you think about what really is the hideousness of our world.//

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Bear-Men Review
By Ming Pao Daily
//Each character shares significant weight in the play and bears a good amount of scars, which are manifested in different performing forms, from acting, narration to singing – different Chinese opera songs and folk songs accompanied by various musical instruments. //

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Landscape in the mist o la fuerza de la poesía vestida sin artificios (Landscape in the mist or the strength of poetry dressed without artifice)
Municipal Theater
15 August 2016

By Carlos Fos
//Thus, even with collective imaginaries as distant as those we imagine between Hong Kong and
Bahía Blanca, we are able to let ourselves be tr
aversed by a spectacle of commendable poetic beauty.//

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Review: shades of Kafka in rise and predestined fall of Hong Kong
South China Morning Post
29 September 2015

By Oliver Chou
//The production was designed for those familiar with the original works rather than the novice, with storylines and characters juxtaposed in multiple layers. But it was not difficult to grasp the message that the city's success was a result of a series of coincidences and the fall was predestined. //

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Nothing is Retainable 
Southern People Weekly

By Wuqi 
//Among these intuitions, director Tam Hung-man fishes out Hong Kong’s identity from his point of view. This is also what I appreciate Ronin Theatre the most. Their theatrical productions display a position in which young people conduct themselves in modern society, which is limited to their own point of view and simultaneously caught up in the past. The only way out is to honestly confront this kind of life experience and find out a means to build the sense of history.  //

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Fog is Nostalgia
Southern People Weekly

By Buyou
// In this play, the acting, props, lighting and music all stress the notion of ‘nostalgia’. Each of them emerges and submerges at the right place to create a fitting and delicate text. Yet, it is not sentimental. No exaggerated body language or verbal anguage is used – only at times Hakka is spoken or a narrator ignites a cigarette while singing a song, letting the past return.  //

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