摘錄自1月9日香港《文匯報》：卡巴萊（Cabaret）在很多人看來，是「難以定義的藝術」。自發源以來，此種表演形式往往涵蓋歌舞、戲劇、棟篤笑及各類原創作品，並發展出不同的風格，成為西方都市夜晚中尤為獨特的一抹亮色。然而對於香港而言，此類演出形式確屬少見。
自2025年5月起，西九文化區戲曲中心茶館劇場在平日夜晚化身為「港式歌廳」，推出「西九夜延場」系列，讓觀眾在輕鬆氛圍中欣賞卡巴萊表演，節目更邀請多位本地表演藝術家及新秀，為成長中的多元藝術家提供難得的舞台機會。
Cabaret is considered by many to be an art form that defies easy definition. Since its inception, this performance genre has often encompassed singing, dancing, drama, stand-up comedy, and various original works, developing distinct styles and becoming a particularly unique splash of color in Western urban nightlife. However, for Hong Kong, this type of performance is indeed rare.
Since May 2025, the Tea House Theatre at the Xiqu Centre in the West Kowloon Cultural District has transformed into a "Hong Kong-style cabaret" on weekday nights, launching the WestK Cabaret Nights, which allows audiences to enjoy cabaret performances in a relaxed atmosphere. The program also invites numerous local performing artists and emerging talents, providing rare stage opportunities for growing multidisciplinary artists.
親密、多元與創新的港式歌廳舞台容納豐富、唱演結合的方式，為不少藝術家提供了可以大膽「跨界」的機會。2月9日，音樂劇演員尹溥程將在「西九夜延場」呈現自傳性作品《三十五：中場休息》。他曾從金融業轉投舞台，遠赴英國皇家音樂學院深造，再到成為中英劇團全職演員並獲獎項提名，在35歲的節點正好做出如此的演出，他表示「是一個很好的機會去回顧自己。」
The intimate, diverse, and innovative stage of the Hong Kong-style cabaret, with its rich, integrated approach to singing and performance, offers many artists a chance to boldly cross boundaries. On Feb. 9, musical theatre actor Edwin Wan will present his autobiographical work Intermission at 35 as part of the WestK Cabaret Nights series. Having transitioned from finance to the stage, pursued advanced studies at the Royal Academy of Music in the UK, and become a full-time actor in Chung Ying Theatre Company, earning award nominations, he feels performing this piece at the age of 35 is "a great opportunity to look back on myself."
在尹溥程看來，卡巴萊的核心是「跟觀眾有互動，還有跟觀眾共享一個很親密的環境」，打破了傳統劇場的「第四堵牆」。「香港一直以來沒有太多這樣的機會，讓本地的藝術家用這種比較小型的、新穎的形式去展現唱歌跳舞的才華。所以西九這一次，也是很善用茶館這個場景去給了本地藝術家一系列的機會。」
In Wan's view, the core of cabaret is "interacting with the audience and sharing a very intimate environment with them," breaking the "fourth wall" of traditional theatre."Hong Kong hasn't had many opportunities like this for local artists to showcase their singing and dancing talents in such a small-scale, novel format. So, this initiative by West Kowloon is also making excellent use of the Tea House setting to provide a series of opportunities for local artists."
「中場休息」（Intermission）這個概念，也是他當下狀態的寫照。「35歲，好像可以剛好停一停，然後反省一下過去做了什麼，我將來要做什麼……中場休息不是我現在就主動地停下來、我要休息，而是我人生來到這個階段，好像是時候思考一下。」他特別指出，在行業內，35歲對男演員是一個尷尬而值得反思的轉折點，許多音樂劇也以此為主題。
The concept of "Intermission" also reflects his current state."At 35, it feels like a good time to just pause and reflect on what I've done in the past and what I want to do in the future... This intermission isn't me actively choosing to stop now and rest; it's more that my life has reached this stage, and it seems like the right time to think." He particularly noted that within the industry, the age of 35 is an awkward yet reflective turning point for male actors, a theme explored in many musicals.
早前，尹溥程憑《花樣獠牙》獲提名第33屆香港舞台劇獎最佳音樂劇男主角，這對他而言有別樣的意義：「如果是告訴十幾年前的自己、還在銀行工作的自己，我一定不會相信。」這更像是一種「人生可能性」的展示，也讓他看到命運的無常與廣闊。
Earlier, Wan was nominated for Best Actor in a Musical at the 33rd Hong Kong Drama Awards for his role in Little Shop of Horrors. This holds special meaning for him: "If I told my younger self from over a decade ago, still working in a bank, I would never have believed it." It feels more like a demonstration of "life's possibilities," allowing him to see the unpredictability and vastness of fate.
對於「西九夜延場」意圖展現「港式歌廳」風格，他認為這正反映了香港獨特的多元性、不同語言與文化的並存。在本次作品的呈現中，他也會結合粵語、韓文等多種語言元素，從接受西方音樂劇訓練，然後慢慢回到香港，回到亞洲，用亞洲的語言表演，他像是完成了某種階段性的成長與追尋。
此次出演「西九夜延場」，正給了他一個契機去串聯與回顧這一路的逐夢：「沒有哪條路是對或錯的。我覺得最重要的是你人生中，找到你自己的定位，找到你自己心之所向的、心安的東西。」
Regarding the WestK Cabaret Nights series' intent to showcase a "Hong Kong-style cabaret" flavor, he believes this reflects Hong Kong's unique diversity and the coexistence of different languages and cultures. In this performance, he will incorporate elements of multiple languages, including Cantonese and Korean. From receiving Western musical theatre training to gradually returning to Hong Kong and Asia, performing in Asian languages, he feels he has completed a certain stage of growth and pursuit.
Performing in WestK Cabaret Nights provides him with an opportunity to connect and reflect on this dream-chasing journey: "There's no right or wrong path. I think the most important thing in life is to find your own place, to find what sets your heart at ease, what your heart truly desires."
●English Editor: Darius
@DotDotNews Deepline
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