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Natasha Rogai

When Taiwan’s Cloud Gate Dance Theatre last performed in Hong Kong in 2019, they presented a gala programme paying tribute to the work of their founder, Lin Hwai-min, who handed over direction of the company the following year to his protege, Cheng Tsung-lung.
Lunar Halo is the first full-length work by Cheng and the first Cloud Gate production under his direction to be presented in the city. So how did this legendary company look under their new director?
The answer is, to put it bluntly, much the same. Cloud Gate have always had a very specific style, and that remains true. While preserving their immediately identifiable character may please loyal admirers, after 50 years and with a new director, one might have expected to see some evolution and exploration of new paths.
To be fair, Lunar Halo was created in 2019, and Cheng’s more recent works may show greater change. Here, his choreography is heavily influenced by his mentor and predecessor, although other influences (Akram Khan, Crystal Pite) are also present.
The most striking sequence of the performance was the opening, where a group of male dancers working in unison linked their arms and bodies to create a succession of extraordinary images, including one that looked like a DNA helix revolving on a screen.

Then things became less interesting. The dancers stamped, jumped and whirled, solo or in groups – with the women doing a lot of long-hair tossing – and showed the distinctive strengths of Cloud Gate’s renowned training system.
Drawing on Eastern and Western elements – including martial arts, qigong and calligraphy on the one hand, contemporary dance and ballet on the other – the dancers contorted their bodies into extraordinary positions, including extreme backbends that demanded truly astonishing flexibility, core strength and balance.
The problem, as with many previous works by Cloud Gate, was that, however spectacular these moves were, when repeated again and again, they began to pall. Ultimately, there was too little variety for a 70-minute piece.

The score by Icelandic post-rock band Sigur Ros consisted mostly of ominous sounds reminiscent of a horror movie – and some of the more distorted positions assumed by the dancers certainly looked as if they were about to go full Exorcist.
At times, this muted soundtrack worked against the physical power and speed of the dance; the piece only really came together at the end, in an exciting, well-matched climax of rhythmic music and frenzied movement.
The theme of the work, according to Cheng, is the pervasive power of digital media and the importance of getting back to the reality of the human body.
This was represented by video projections ranging from the lunar halo itself – a phenomenon caused by moonlight refracting through clouds packed with tiny ice crystals, creating an optical illusion of a glowing ring around the moon – to a giant figure of a naked man towering over the dancers and, later, an equally giant hand that reached down to scoop them up.

At the end, a screen hanging vertically at the back of the stage was turned horizontal and lowered over the dancers, who huddled together, crushed under its weight.
Ironically, since the point of the work is the importance of taking a stand against the increasing dominance of the virtual world and reconnecting with the human body, these arresting digital images tended to distract attention from the dancers and drew the audience’s focus.
All in all, seven years after their last appearance in Hong Kong, it seems that Cloud Gate remain Cloud Gate, something that will be welcomed by some dance lovers while disappointing others.
One thing there is no doubt about is the outstanding calibre of the dancers. Their athleticism, stamina, blazing energy and profound commitment were magnificent, and they more than deserved the tremendous ovation from the audience.
Lunar Halo, Cloud Gate Dance Theatre, Xiqu Centre Grand Theatre. Reviewed: July 11.


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How does Taiwan’s legendary Cloud Gate Dance Theatre look under new director?

Teh beginning of “Lunar Halo” sees a single male body dissolving into a swaying line of men. This performance by Taiwan’s Cloud Gate Dance Theatre took place at the Xiqu Centre in Hong Kong on July 10, 2026 (Photo: Eric Hong @ Moon 9 Image Courtesy of West Kowloon Cultural District Authority) 

A scene from Lunar Halo, Cloud Gate Dance Theatre’s production about reconnecting with the human body in an increasingly digitised world, at the Xiqu Centre in Hong Kong’s West Kowloon Cultural District, where the show took place from July 10-12, 2026. Photo: Moon 9 Image/courtesy of West Kowloon Cultural District Authority

The opening scene of “Lunar Halo” saw a group of male dancers linking their arms and bodies to create a succession of extraordinary images. Photo: Moon 9 Image/courtesy of West Kowloon Cultural District Authority

Dancers perform in front of colossal LED screens during “Lunar Halo”. Photo: Moon 9 Image/courtesy of West Kowloon Cultural District Authority

A projection of a giant man towers over dancers during a scene from “Lunar Halo”. Photo: Moon 9 Image/courtesy of West Kowloon Cultural District Authority

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Cloud Gate Dance Theatre artistic director Cheng Tsung-lung at the Xiqu Centre in Hong Kong’s West Kowloon Cultural District, where the Taiwanese dance troupe is performing its original production Lunar Halo from July 10 to 12, 2026. Photo: Elson Li

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A scene from the 2019 premiere of Lunar Halo. Photo: Lee Chia-yeh

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Lifestyle

Arts

Cloud Gate’s first show in Hong Kong under director Cheng Tsung-lung brought familiar high-level dancing and energy, but lacked innovation


Cloud Gate’s first show in Hong Kong under director Cheng Tsung-lung brought familiar high-level dancing and energy, but lacked innovation.


World of performing arts

West Kowloon Cultural District

Taiwan

Hong Kong

An assessment or critique of a service, product or creative endeavour.  Film reviews, restaurant reviews, reviews of art exhibitions. (Eg. Crazy Rich Asians: an important film, yes, but a good one?)


Review

.css-1c6uqr6{color:inherit;font-weight:inherit;font-size:inherit;font-family:inherit;line-height:inherit;overflow-wrap:break-word;}Cloud Gate’s first show in Hong Kong under director Cheng Tsung-lung brought familiar high-level dancing and energy, but lacked innovation

Cloud Gate’s first show in Hong Kong under director Cheng Tsung-lung brought familiar high-level dancing and energy, but lacked innovation