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April Zhang

When the Sunbeam Theatre closed its doors for good earlier this month, it received a warm send-off from Hongkongers who expressed hope it wouldn’t mean the end of Cantonese opera in Hong Kong. I hope so too.
The government, at least, seems certain it would not. When Secretary for Culture, Sports and Tourism Rosanna Law Shuk-pui addressed lawmakers on December 18 regarding the Sunbeam Theatre closure and the development of Cantonese opera, she largely framed the issue as a venue problem, emphasising the government’s efforts to provide alternative performance spaces.
She elaborated that, over the years, venues such as the Yau Ma Tei Theatre, Ko Shan Theatre and Xiqu Centre have been constructed, adding 2,000 seats. Additionally, priority venue hiring policies and the Venue Partnership Scheme were implemented to support Cantonese opera organisations.
The message from Law was clear: losing the Sunbeam Theatre is not a crisis as other quality venues are readily available. As they are all near MTR stations, it is no trouble for the public at all.
Law also highlighted the government’s financial support for Cantonese opera. Since 2005, the Cantonese Opera Development Fund has granted HK$200 million (US$25.7 million) to 1,200 projects, ranging from traditional and new plays to cultural exchanges, youth training and research. A new funding initiative is also in the works to support high-quality development, blending tradition with innovation.
A second message was equally clear: the government is committed to helping Cantonese opera evolve into a modernised art form while preserving its traditional characteristics and expanding its audience. Unfortunately, Law’s logic is flawed.


She overlooked the critical point that the Sunbeam Theatre is more than a venue, it is a landmark with cultural prestige and emotional resonance. The outpouring of emotions at the theatre’s final night shows she greatly underestimated the importance of the Sunbeam Theatre. Losing it is not just about losing a physical space for Cantonese opera. It is about losing a piece of cultural identity.
Other theatres might offer alternative venues or even modern technology, but they cannot replicate the character and a sense of continuity that Sunbeam Theatre provided. One audience member at the final performance put it well, saying “This theatre is so special because it is designed for Cantonese opera, while other more modern theatres host all different kinds of performances.”
Moreover, Law’s confidence in Cantonese opera’s ability to attract younger audiences seems misplaced. The art form’s traditional nature and niche appeal make it unlikely to regain mainstream popularity in a world dominated by streaming platforms, pop culture and digital entertainment.
We have seen this pattern time and time again. Traditional art forms fade into obscurity as societal preferences shift, with only a few preserved for their cultural heritage value or revived through nostalgia. Examples include Japanese kabuki, European puppet shows or the recent resurgence of vinyl records.


Cantonese opera is following a similar trajectory. Despite being Hong Kong’s first world-class intangible cultural heritage item, it struggles to resonate with younger generations. Its historical narratives and classical aesthetics seem to be no match for the immediacy and accessibility of modern entertainment. Given this, the most realistic strategy is not to chase mainstream revival but to focus on safeguarding Cantonese opera’s cultural and historical significance.
In this aspect, lessons from Japan’s kabuki tradition – which shares some similarities with Cantonese opera – are instructive. Both are traditional art forms with elaborate costumes and stylised acting.
In the 20th century, as modern entertainment such as cinema grew in popularity, kabuki faced great challenges. However, thanks to some adaptations to modern audiences, kabuki has become a symbol and a draw for many foreign tourists who are fascinated by traditional Japanese culture. Therefore, although kabuki’s peak popularity is long gone, it is still performed regularly. Attendance tends to skew older, and younger Japanese people might see it as a novelty.


Adopting a similar approach for Cantonese opera would mean prioritising preservation. The Sunbeam Theatre, with its five-decade legacy, is an ideal candidate of this effort. Its historical significance and cultural identity make it an irreplaceable foundation for renewal. By preserving the theatre and adapting its programming to modern needs – such as blending traditional performances with popular culture or shortening plays – Cantonese opera can continue to serve as a cultural treasure for future generations and a unique attraction for tourists seeking an authentic Hong Kong experience.
This will require decisive government intervention. While Law boasted of the HK$200 million spent on 1,200 Cantonese opera projects, the funds appear to be spread too thinly across numerous small initiatives. A more targeted approach is needed.
Could the government, for instance, consider purchasing the Sunbeam Theatre itself? Such a move would demonstrate a genuine commitment to “preserving the essence of Cantonese opera and showcasing the treasures of our cultural heritage”, as Law promised.


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Why Cantonese opera in Hong Kong needs Sunbeam Theatre

Theatre fans wait to enter the Sunbeam Theatre in North Point ahead of its final show on March 3. Photo: Sam Tsang

Show must go on for Cantonese opera after Sunbeam curtain falls in Hong Kong

Fans queue up for Sunbeam Theatre’s last show “Xiaoping the legend”. Photo: Sam Tsang

Cantonese opera star Mitche Choi on keeping the Hong Kong tradition alive

Mitche Choi wears a traditional Cantonese opera costume. Photo: Jocelyn Tam

Mitche Choi takes the stage in an early performance by her company, Shan Opera. Photo: Courtesy of Mitche Choi

Mitche Choi and her sister at one of their performances at the elderly home. Photo: Courtesy of Mitche Choi

Mitche Choi is a Cantonese opera performer based in Hong Kong, and the founder of Shan Opera. Photo: Jocelyn Tam

Mitche Choi is keeping the tradition of Cantonese opera alive through her company Shan Opera. Photo: Jocelyn Tam

Mitche Choi puts on make-up for the stage. Photo: Jocelyn Tam

Mitche Choi married her husband Stephen in December 2023. Photo: Courtesy of Mitche Choi

Mitche Choi on stage in a production of the play The Butterfly and Red Pear Blossom. Photo: Courtesy of Shan Opera

Mitche Choi on stage during one of her early performances. Photo: Courtesy of Mitche Choi

Mitche Choi appears on stage in a scene from The Butterfly and Red Pear Blossom. Photo: Courtesy of Shan Opera

Miche Choi delivered a TEDx talk titled How Cantonese Opera Bridges Culture, Identity and the Future. Photo: Courtesy of Mitche Choi

A J-pop singer and Cantonese opera performer? Rika Woo out to be ‘bridge between cultures’

To some, Rika Woo is a J-pop singer. To others, she is a Cantonese opera performer. The Hong Kong artiste explains why she does both. Photo: Reuters

Rika Woo interacts with a fan after an Otome Syndream performance in Hong Kong. Photo: Reuters

Woo in traditional Cantonese opera attire. She wants to “be the bridge” between Cantonese opera and J-pop. Photo: Reuters

Woo performs on stage with her J-pop group Otome Syndream. Photo: Instagram/rikakababy

Crowds swell as Hong Kong’s Sunbeam Theatre turns off lights after 52 years

Residents snap photos as the shutters come down on Sunbeam Theatre. Photo: Sam Tsang

Residents attend Cantonese opera performance “Trump on Show” at Sunbeam Theatre. Photo: Sam Tsang

Residents take photos in the theatre lobby. Photo: Sam Tsang

Residents hold up tickets for the final show. Photo: Sam Tsang

Sunbeam Theatre will close its doors after 52 years. Photo: Eugene Lee

The audience for the sold-out final show. Photo: Sam Tsang

Fans wait for Sunbeam Theatre’s last show “Xiaoping the legend”. Photo: Sam Tsang

Valerie Zhang, a 49-year-old in the culture industry, said: “This trip is like a pilgrimage to me.” Photo: Sam Tsang

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“Dim Sum Squad” members Har Gow, Siu Mai and Char Siu Ba are part of The Peak’s new “It’s Different Up Here” campaign that celebrates all things Hong Kong. It runs until February 28. Photo: Handout

Tourists walk along Central Street in Harbin on January 9, 2024. Photo: Xinhua

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Preserving the theatre means preserving a piece of the city’s cultural identity, affirming Cantonese opera as part of our heritage


Preserving the theatre means preserving a piece of the city’s cultural identity, affirming Cantonese opera as part of our heritage.


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Expresses the views, ideas and conclusions of the author. (Eg. Enough of Crazy Rich Asians, think of crazy poor Hongkongers.)


Why Cantonese opera in Hong Kong needs Sunbeam Theatre

.css-1c6uqr6{color:inherit;font-weight:inherit;font-size:inherit;font-family:inherit;line-height:inherit;overflow-wrap:break-word;}Preserving the theatre means preserving a piece of the city’s cultural identity, affirming Cantonese opera as part of our heritage

Preserving the theatre means preserving a piece of the city’s cultural identity, affirming Cantonese opera as part of our heritage