Why Cantonese opera in Hong Kong needs Sunbeam Theatre

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.