13.67 2.0 House Programme 13.67 2.0 House Programme 13.67 2.0 House Programme

By Mathias Woo (May 19, 2025)

Back then, we still wore half a face. The theatre was filled with bodies segmented by masks, yet their eyes were remarkably bright. We devised a method to pre-record voices, which, during the performance, came alive, whispering in the audience’s ears as if the actors truly spoke on stage. The actors themselves remained silent, merely moving their lips and shifting their bodies to enact a play.

For this revival, I’m grateful to Joseph Chan (Editor’s Note: renowned film producer, and manager) for recommending Wong On-ching. Her solid foundation in Cantonese opera, with every movement and gaze, brings the traditional operatic charm, creating unique sparks with my long-time collaborators David Yeung (founding member of Zuni), Zachary Pink Yung (Ah Ping, Young Fellow in Performance of Zuni), and Carson Chung (resident creative actor of Zuni). It’s fascinating how David and the others, having worked with me for years, can understand each other with just a glance, yet in rehearsing this play, we’re all trying new approaches. On-ching’s involvement has made us “old hands” re-examine the essence of performance.

Performing in Cantonese is simply marvelous. It can erupt like a machine gun, rapid-fire, showering the house with applause; or it can be slow and deliberate, meticulously refining each word between the lips and teeth, enunciating every single word of the script so clearly that every syllable resonates with the audience.

This adaptable language is perfect for theatrical texts, making it incredibly engaging. Our actors are adept at this, at times delivering lines like “large and small pearls falling onto a jade plate,” and at other times drawing out their tones, biting into each word with distinct clarity.

The pandemic is most peculiar; it has brought humans and machines closer. A small screen became a window through which we viewed the world, yet our vision grew increasingly blurred. Now, as the pandemic gradually recedes, people are once again streaming into theatres, relearning how to see with their own eyes and listen with their own ears.

Theatre, in the end, is magical. Even with myriad technologies augmenting it, it stands firm. Humans ultimately need to touch real spaces; the light and shadows on a screen are merely flat illusions. Even wearing a “VR headset,” one cannot truly grasp the joys and sorrows of the play. So the question arises: how do we make these cold machines come alive in the theatre? This is just the beginning.

Technology usually gravitates towards amusement parks, where gold and silver are piled high. After three to five minutes of excitement, nothing remains. Theatre is different; it demands that people sit for two or three hours, with their eyes, ears, and minds fully engaged. With so much available to watch nowadays, if theatre doesn’t reinvent itself, it risks becoming an antique.

The novel 13.67 has the blood of grand history flowing through its veins. The author must have read Ray Huang’s 1587, A Year of No Significance, adopting his tone from the very beginning. When directing, I always consider how to build a historical framework on stage. Theatre doesn’t just entertain; it also educates – albeit the most superficial kind of education. For deeper understanding, one must delve into books. Even with “artificial intelligence,” without some knowledge, one cannot discern whether it utters pearls or chaff.

In ten years, humans and machines will likely live differently. Will humans become dumber because of machines? Or will machines free people to pursue more meaningful endeavors? What is meaningful? Is money the ultimate goal? The more advanced technology becomes, the greater the disparity between rich and poor. When even consumers are exhausted, what good are these inventions? This is the fundamental question.

We are becoming increasingly minuscule, transforming into a number in the flow of data. We live in the virtual realm, where knowledge comes too easily. What will humanity become if this continues? Are our worries already outdated? There’s a scene in 13.67 about pagers that perfectly illustrates the entanglement of technology and society – they originally fed each other.

Technology cannot be separated from society, and society cannot be separated from technology; this is our current fate. For this revival of 13.67, in the post-pandemic landscape, we’ve added some technological seasoning to the play. Actors tell stories with their bodies within the precise space I designed.

Change is right before our eyes. The sight of Hongkongers flocking to Shenzhen is just one glimpse of it. Watching 13.67 might offer insight into the grand historical perspective – stories always have causes and effects; one cannot simply extract a single segment. Hongkongers must understand their past to see their future clearly. History is never isolated; it is a continuous line, and we are merely a few ink spots on that line.

In the 25/26 theatre season, Zuni Icosahedron continues its interdisciplinary experiments with “Hong Kong-Style Experiment.” This season, Mathias Woo and cartoonist Lai Tat-tat Wing have teamed up to create a unique theatre tarot, extending the imaginative scope of our performances beyond the stage.

Each of the four productions in this season comes with its own dedicated set of tarot cards, inviting you to embark on an insightful dialogue as you experience the show. As you immerse yourself, you’ll discover the fascinating interplay between the visual language of the tarot and the theatrical narrative, creating a truly unique viewing experience each time. We encourage you to enjoy Zuni’s diverse productions with your friends and family, and collect all 78 tarot cards – an artistic and experimental treasure!

For audiences of Mathias Woo Detective Theatre 13.67 2.0, you’ll receive a random set of tarot cards, offering a magical blend of theatre and the mystical. Who knows, you might even uncover some mysterious clues for your own “Hong Kong-style Experiment”! ✨🔮

Zuni is thrilled to partner with local distinctive brands to create the “Zuni Cultural Travel Map,” an exciting initiative that blends performances, art, dining, and guided tours. This map offers exclusive deals and invites audiences to embark on a truly unique “Hong Kong-style Experience.” More than just experimental theatre, Zuni performances are a gateway to understanding Hong Kong. We invite you to explore the city’s authentic culture from an artistic perspective, connecting with local dining and guided tours for a multifaceted experience.

Zuni welcomes other unique brands to join us in building a new cultural landmark in Hong Kong! If you’re interested in being part of our Cultural Map, please call us at 2566 9696 or email info@zuni.org.hk.

Audiences of Mathias Woo Detective Theatre 13.67 2.0 have a chance to receive a “Zuni Cultural Travel Map: Hong Kong-Style Experience Coupon” through the theatre tarot set distributed at the venue. This coupon can be redeemed at the “Hong Kong-style Experience” booth located in the front lobby for a random selection of product or discount coupons. It’s a great way to experience Hong Kong from different perspectives! Quantities are limited and available on a first-come, first-served basis. Good luck!

📌 Bewater Popcorn — A freshly popped caramel popcorn

📌 Broadway Cinematheque — One complimentary movie ticket

📌 Grace Hoop — A serving of traditional “smiling cookies” (笑口棗)

📌 Kung Wo Beancurd Factory — A cup of ginger brown sugar tofu ice cream

📌 Mak’s Beer — One bottle of craft beer

📌 The Star Ferry — One single journey ticket between Central/Wan Chai and Tsim Sha Tsui

📌 Tai On Coffee & Tea Shop — One signature egg tart

📌 Select 18 — 15% off a single purchase

Learn More

Original Novel: Chan Ho-kei
Ⓒ Chan Ho-kei with authorisation from Crown Culture Corporation

Director, Set and Arts Tech Design: Mathias Woo
Adaptation: Mathias Woo, Carson Chung
Music Directors: Cedric Chan, Yu Yat-yiu
Illustrations: Lai Tat-wing
Performers: Carson Chung^, Wong On-ching, David Yeung^, Zachary Pink Yung^

^Performers-in-residence

Creative Coordinator: Cedric Chan

Lighting Design: Mak Kwok-fai
Sound Design: Can. Ha
Video: Dan Fong, Benny Woo
Costume Design: Twinny Cheng

Ms Hedy Lam

Mr Joseph Chan

Time Auction

General Manager (Programme): Doris Kan

Senior Manager (Production and Technical): Chow Chun-yin
Technical Coordinator: Johnny Sze
Deputy Stage Manager: Zeta Chan
Assistant Stage Manager: Megan Hung

Rehearsal Assistant: Chloe Li
Image and Animation Assistant: Tang Shu-ting

Subtitle: Onki Chan

Sound & Music Editing: Kairos Sou
Video Assistant/Light Operator: Yu Pui-ho
Make up: Billie Siu
Hair Styling: Trista Wong
Wardrobe: Bonnie Chan

Stage Crew: Megan Hung, Kenneth Chan
Animation Assistant: Guo Tian-yang

International Exchange Director / Producer: Wong Yue-wai
General Manager (Administration and Finance): Jacky Chan
Administration Manager: Colin Cheng
Programme and Promotion Manager: Momoko Ng

PR & Publicity: Luka Wong
Programme Assistant: Niki Luk

Ticketing & Digital Marketing: Ho Yin-hei
Graphic Design (promotion): Pollux Kwok

Photography for Promotion: Kim Hoo@easteighteen, Ebohom Liga
Photo Documentation: Yvonne Chan, Ebohom Liga, Vic Shing, Xia Dong
Video Documentation: Ally Chan

Graphic Design for Promotion: Carol Mak
English Translation (Promotion): Mona Chu

Copywriting for Promotion: Topaz Chiu, Song Leung, Seamus Li

Front of House Ambassador: Cham Pui-yee, Chan Hiu-yu, Debbie Yim, Hau Sze-wong, Ho See-hang, Nicole Wong, Tris Lo, Jeffrey Tso

Creative Director: Mathias Woo
Illustrator: Lai Tai-wing
Tarot Advisor: Theresa Leung
Graphic Design Assistant: Coco Cheung

Good news for audiences who purchased full-price tickets for Mathias Woo Detective Theatre 13.67 2.0 on Zuni’s ticketing platform! You’ve already received a 15% off discount code for the Cantonese dark drama Left Unsaid in your ticket confirmation email. Check your email for details. This offer is limited, so grab it before it’s gone!

A Grand Comeback from the Asia Tour – The Hit Show Returns This September

A Star-studded Cast Featuring Cecilia Yip, Kenny Wong
A Single Accident, Nine Relationships – Brace Yourself for the Uncanny

Adapted from the original play Left Unsaid by Nick Yu Rong-Jun, Artistic Director of the Shanghai Dramatic Arts Centre, National First-Class Playwright

🗓️ 2025.9.4-7 (Thu-Sun)
📍 Grand Theatre, Hong Kong Cultural Centre

Programme Details