GalleryTestimony

Mohammad Kashif Ali embodies the introspective core of 'Testimony,' featuring a mountain projection that reflects the show's layered storytelling.

Promotional poster for the Rooftop Productions contemporary documentary theatre show 'Testimony' (《山下的證詞》). The image features a close-up portrait of performer Mohammad Kashif Ali, whose face is illuminated by a projection of rocky mountain terrain, symbolizing the connection between the Himalayas and Hong Kong's Lion Rock. The dramatic lighting emphasizes his contemplative gaze, highlighting themes of identity and the diaspora experience in Hong Kong theatre. Testimony poster.

Performer Mohammad Kashif Ali captures the interplay between the Himalayas and Hong Kong’s Lion Rock in this promotional poster for Testimony.

Actor Ng King Lung stands on a dark, minimalist stage, illuminated by a spotlight that highlights his expressive smile. He is wearing a simple black T-shirt with the word 'SMILE' printed on it, reflecting the aesthetic of a contemporary Hong Kong theatre production. Behind him, a projection displays text related to the play. This image captures a poignant moment from the Rooftop Productions (天台製作) performance of 'Testimony'. 'Testimony'

Ng King Lung embodies a poignant moment in Rooftop Productions' latest performance, Testimony.

A wide shot captures six diverse actors standing in a straight line on a dark, minimalist stage for Rooftop Productions' contemporary theatre piece, 'Testimony'. The performers, dressed in muted-tone casual attire, look upward with solemn, contemplative expressions. The scene is illuminated by dramatic theatrical overhead lighting, highlighting the raw, emotionally charged atmosphere typical of Hong Kong's experimental stage performances. 'Testimony'

Michelle Li, Arisa Yasaratne, Ivor Houlker, Basnet Tusar, Ng King Lung, and Mohammad Kashif Ali capture a moment of shared solemnity in 'Testimony'.

In a scene from Rooftop Productions' contemporary Hong Kong theatre work 'Testimony' (《山下的證詞》), actor Mohammad Kashif Ali operates a wooden puppet on a dimly lit stage. The performance is set against a large-scale projected illustration depicting a scene from the Mahabharata, with text reading, 'So the next in line should have been Yudisthira'. The atmospheric lighting highlights the intimate interaction between the performer and the puppet, capturing the essence of this experimental stage performance.

Mohammad Kashif Ali navigates the lineage of Yudisthira through puppetry in this experimental staging of Testimony.

A dramatic stage shot from Rooftop Productions' contemporary theatre piece 'Testimony' (《山下的證詞》), featuring a large, blue-tinted projection of actor Ivor Houlker. The image is artistically fragmented, showing a close-up of his face with sharp, overlapping geometric shapes that distort his expression, conveying a sense of tension and psychological depth. In the darkened foreground, a spectator is silhouetted, observing the performance. The projection includes subtitles in Chinese and English that read: 'understand people, the area and everything, with outside military'. 'Testimony'

Ivor Houlker’s projected figure interrogates the complexities of memory, as subtitles reveal: 'understand people, the area and everything, with outside military.'

In a dramatic scene from Rooftop Productions' contemporary theatre piece 'Testimony' (《山下的證詞》), four actors are gathered around a table in a dimly lit studio space. Two actors sit on opposite sides with their hands pressed together in a gesture of prayer or reverence, while two others stand and carefully manipulate a wooden, skeletal puppet. The staging emphasizes a reflective, solemn atmosphere characteristic of this Hong Kong stage performance. One performer expresses, 'But when Arjun arrives and sees his relatives across the battle lines, he can’t fight.'

Arisa Yasaratne, Mohammad Kashif Ali, Michelle Li, and Basnet Tusar rehearse the pivotal moment where Arjun confronts his family across the battle lines: 'But when Arjun arrives and sees his relatives across the battle lines, he can’t fight.'

In a rehearsal for Rooftop Productions' contemporary theatre piece 'Testimony' (山下的證詞), a performer manipulates a minimalist, rough-hewn puppet on a dark stage illuminated by dramatic, moody spotlighting. The actor, Mohammad Kashif Ali, focuses intently on the puppet's wooden limbs while another performer supports the head, evoking a sense of ancient storytelling brought into a modern HK theatre context. The scene captures the philosophical inquiry: "But what did Krishna say to Arjun?"

Mohammad Kashif Ali navigates the ancient dialogue of the Bhagavad Gita in this rehearsal for Testimony. But what did Krishna say to Arjun?

In a moody, blue-lit scene from Rooftop Productions' contemporary Hong Kong play 'Testimony' (《山下的證詞》), actor Ng King Lung stands on stage holding a copy of the 'Mahabharata'. His gaze is directed slightly upward, capturing an expression of profound contemplation and introspection. As he portrays the weight of historical memory on stage, he declares: 'The future does not exist, but I can give you eyes to see the battle'

Ng King Lung contemplates the weight of history in 'Testimony,' declaring: 'The future does not exist, but I can give you eyes to see the battle.'

A dramatic stage scene from Rooftop Productions' contemporary theatre piece 'Testimony' ('山下的證詞'). In a dimly lit space, actor Ng King Lung stands atop a chair, looking intently at a large projection screen displaying the text 'YANKEE708546(9), last number 9 over. Don't get into trouble.' Beside him, actor Mohammad Kashif Ali stands in the foreground, hands clasped behind his back, looking reflectively toward the side of the stage. As the actor on the chair delivers his line, he says, "Anyway, that was the only funny experience I had with the police."

Ng King Lung and Mohammad Kashif Ali navigate the tensions of the past, with Ng reflecting: 'Anyway, that was the only funny experience I had with the police.'

In a dramatic scene from Rooftop Productions' contemporary theatre piece 'Testimony' (《山下的證詞》), a performer sits in a lotus position on a chair in the center of the stage, bathed in a sharp, blue spotlight. Behind him, a massive, out-of-focus projection of his face mirrors his contemplative expression. To his right, another actor kneels on the dark stage, also lit in cool, blue tones, contributing to the atmospheric staging of this Hong Kong stage performance. 'Testimony'

Mohammad Kashif Ali and Basnet Tusar embody the weight of their characters in this striking sequence from Testimony.

Ivor Houlker captures the haunting weight of his character’s narrative in this pivotal scene from Testimony.

Basnet Tusar sits in a cross-legged meditative pose on a minimalist stool, bathed in a sharp, cool-toned spotlight. Behind him, a massive, out-of-focus projection of his own face dominates the stage, creating a surreal and introspective atmosphere characteristic of Rooftop Productions' contemporary Hong Kong theatre. As he gazes upward with a pensive expression, he delivers the line: "And revolt? Why do men revolt?"

Basnet Tusar contemplates the nature of dissent in this pivotal scene from Testimony. "And revolt? Why do men revolt?"

In a dramatic scene from Rooftop Productions' contemporary theatre piece 'Testimony' (山下的證詞), actor Ng King Lung stands on stage illuminated by cool blue theatrical lighting, gesturing passionately toward his scene partner, Mohammad Kashif Ali, whose back is turned to the camera. The intense staging highlights a poignant moment of performance. 'Testimony'

Ng King Lung and Mohammad Kashif Ali capture a poignant moment of intensity in the production Testimony.

A dramatic stage scene from Rooftop Productions' contemporary Hong Kong theatre play, 'Testimony' (《山下的證詞》). In the center, actor Mohammad Kashif Ali stands alone in a harsh, bright spotlight, wearing a t-shirt and trousers with a pensive, slightly weary expression. To the left, a performer interacts with a camera, projecting a distorted, blue-tinted live video feed onto a large screen behind the stage, which displays the Chinese and English text '小子, 身份證 / Kid, ID card.' To the right, another figure stands in the shadows. The staging highlights themes of surveillance and identity common in contemporary local performance art. Testimony

Mohammad Kashif Ali navigates the tension of identity and surveillance in this haunting scene from Testimony.

On a dark stage lit by two overhead spotlights, actors Ng King Lung and Arisa Yasaratne stand on opposite sides of a large, glowing projection of an exam paper. Ng King Lung appears on the left, while Arisa Yasaratne stands on the right, both framed by the blue-tinted, semi-transparent image of a hand marking a test as 'Correct.' This scene from the Rooftop Productions contemporary theatre performance 'Testimony' highlights themes of memory and scrutiny. 'Testimony'

Ng King Lung and Arisa Yasaratne confront the weight of historical judgment in this striking scene from Testimony.

In a dramatic scene from Rooftop Productions' contemporary theatre piece 'Testimony', actor Mohammad Kashif Ali stands in the foreground, his expression intense and pained. Behind him, another performer is softly illuminated in the shadows, while a colossal, high-contrast blue-toned projection of a face looms over the stage, adding a haunting, immersive layer to this Hong Kong stage performance. Mohammad Kashif Ali speaks the line: "So the first time I got checked it was downstairs at my home"

Mohammad Kashif Ali relives a personal moment of systemic scrutiny in 'Testimony': 'So the first time I got checked it was downstairs at my home.'

In a dramatic scene from Rooftop Productions' contemporary theatre piece 'Testimony' (《山下的證詞》), actor Mohammad Kashif Ali (巫加沙) stands center stage under sharp, low-key lighting, gesturing expressively as he delivers a monologue. Behind him, another performer stands on a raised platform, while a large projection displays the translated text: 'I mean I wasn't with them'. A camera operator is visible on the left, highlighting the multimedia nature of this Hong Kong stage production. As the performer speaks, he declares: 'Testimony'

Mohammad Kashif Ali delivers a gripping monologue in Testimony, exploring the complexities of memory and truth on stage.

Close-up of actor Basnet Tusar holding a microphone while speaking intensely on stage during a performance of Rooftop Productions' contemporary Hong Kong theatre play, 'Testimony'. The lighting is moody and dramatic with a cool blue hue from a background screen, capturing a moment of poignant delivery as he says, 'Contribute to prosperity that doesn’t trickle down to you.'

Basnet Tusar delivers a poignant reflection on systemic inequality: 'Contribute to prosperity that doesn’t trickle down to you.'

Basnet Tusar delivers a poignant performance in Rooftop Productions' contemporary Hong Kong theatre piece, 'Testimony' (山下的證詞). He stands under dramatic, moody stage lighting, holding a microphone with an intense, focused expression. In the background, a projection screen displays a historical, grainy image of a forest scene dated 17/3/2009. 'Testimony'

Basnet Tusar delivers a haunting testimony under the spotlight in this pivotal scene from the production.

Arisa Yasaratne performs in Rooftop Productions' contemporary Hong Kong stage production 'Testimony' (《山下的證詞》), illuminated by dramatic spotlighting against a pitch-black background as she speaks while holding a reusable water bottle. 'But most of my classmates around me were learning P1 level Chinese.'

Arisa Yasaratne recounts childhood experiences in Hong Kong: 'But most of my classmates around me were learning P1 level Chinese.'

In a dramatic scene from Rooftop Productions' contemporary theatre piece 'Testimony' (《山下的證詞》), five actors are staged on a stark, minimalist black stage. The lighting highlights a central dialogue, with a screen above displaying text about a police nuisance complaint involving a South Asian man. The performance explores complex social themes in Hong Kong through powerful physical theatre. One performer asks, "Tusar, do you know what the Limbu case is?"

The ensemble confronts the complexities of the Limbu case in this pivotal scene from Rooftop Productions’ 'Testimony'. As the projection highlights the police report, a performer asks, "Tusar, do you know what the Limbu case is?"

In a poignant scene from the Rooftop Productions (天台製作) contemporary theatre piece 'Testimony' (《山下的證詞》), an actor kneels on a dimly lit stage, hunched over a figure draped in cloth. Behind them, a large-scale projection of historical documents and text fills the background, creating a stark visual contrast that highlights the gravity of the performance. The scene captures a moment of deep vulnerability and historical weight, characteristic of the company's immersive stage work. A line from the production reads: 'They used red paint to write "No Future" on the wall.'

A haunting reflection on history in 'Testimony' as the phrase 'No Future' is marked on the wall in red paint.

Arisa Yasaratne performs in the contemporary Hong Kong theatre production 'Testimony' (《山下的證詞》) by Rooftop Productions (天台製作). She sits barefoot on a simple chair center stage, bathed in a dramatic, singular spotlight that casts a sharp shadow behind her. Behind her, a large projection screen displays a document titled 'What the HELL are your options?', featuring a photograph of an ethnic minority individual. Her hands are outstretched in an evocative gesture, embodying the play's themes of identity and linguistic struggle. The performer poignantly reflects: 'And sometimes Cantonese is the fourth or fifth language for this child.'

Arisa Yasaratne embodies the challenges of identity in 'Testimony,' poignantly noting, 'And sometimes Cantonese is the fourth or fifth language for this child.'

A close-up photograph of actor Michelle Li performing in the contemporary Hong Kong theatre production Testimony (《山下的證詞》) by Rooftop Productions. She is lit by a striking blue stage light, wearing a simple grey top with her hair in a bun, captured with a thoughtful, emotive expression that highlights the intimate nature of the performance. 'Testimony'

Michelle Li delivers a haunting performance in Rooftop Productions' Testimony, capturing the weight of the character's hidden past.

A wide shot of a contemporary theatre performance by Rooftop Productions (天台製作) titled 'Testimony' (山下的證詞). On a darkened stage, an actor stands stage right under a spotlight, speaking into a microphone, while another performer sits at a desk stage left, creating live ink drawings projected onto a large central screen. The production reflects the minimalist, experimental aesthetic of Hong Kong contemporary theatre. 'Testimony'

Arisa Yasaratne delivers a powerful Testimony as live ink illustrations by Michelle Li bridge the narrative on stage.

Performer Michelle Li on stage for Rooftop Productions' contemporary theatre piece 'Testimony' ('山下的證詞'). Bathed in dramatic blue spotlight, she holds a microphone and gestures expressively while speaking to the audience. Behind her, a dark screen displays the Chinese character '屏' and the Jyutping text 'ping4'. Michelle Li delivers a poignant line from the production: "So to learn Cantonese, you have to learn Jyutping."

Michelle Li navigates the complexities of language in this poignant scene from Testimony. As she notes, "So to learn Cantonese, you have to learn Jyutping."

A performer, Michelle Li, passionately singing into a microphone on stage during a performance of the contemporary Hong Kong theatre production Testimony (《山下的證詞》). Bathed in a dramatic blue spotlight, she clenches her left hand in an emotive gesture, capturing a powerful moment of theatrical storytelling. "Testimony"

Michelle Li delivers a poignant vocal performance in a pivotal scene from Testimony, capturing the raw emotional weight of the production.

In a dramatic scene from Rooftop Productions' contemporary theatre piece 'Testimony' (《山下的證詞》), actress Michelle Li sits on a small ladder against a dark stage backdrop. A large, stylized projection of a human hand reaches toward a vivid red screen featuring the text 'Colours of Justice'. The lighting casts deep blue and purple hues, underscoring the raw, emotive storytelling typical of Hong Kong independent theatre. Michelle Li portrays the intensity of the narrative as she delivers the line: "He took someone's recently dumped meal from the rubbish bin."

Michelle Li embodies the raw tension of Testimony, delivering the haunting realization: "He took someone's recently dumped meal from the rubbish bin."

In this scene from the contemporary Hong Kong theatre production Testimony (山下的證詞), actor Ng King Lung is seen on stage. On the left, he stands in a dimly lit doorway, while to the right, a large-scale projection shows a close-up of his face, doubled and distorted in a surreal, mirrored effect as he sings into a microphone. The projected text reads: 'The man is afraid, he runs to escape from the beasts'.

Ng King Lung performs amidst a distorted projection where he confesses, 'The man is afraid, he runs to escape from the beasts.'

In a dark, atmospheric theatre space, performer Ng King Lung stands on a stage set within a doorway, illuminated by blue lighting. To his right, a large projection screen displays a close-up of Ng, who is holding a microphone and singing. This multimedia performance is from the Rooftop Productions (天台製作) show 'Testimony' (《山下的證詞》). The text on the screen reads: 'A man is walking in a dark, dangerous forest'.

Ng King Lung performs in Testimony, embodying the narrative of 'a man walking in a dark, dangerous forest' through live multimedia storytelling.

In this rehearsal for Rooftop Productions' contemporary theatre piece 'Testimony' (《山下的證詞》), actor Ng King Lung stands on a dim stage, illuminated by blue light as he holds a microphone. A large projection screen behind him displays a recursive, multi-layered video effect of his own face, creating a surreal tunnel of imagery. The aesthetic highlights the experimental staging characteristic of Hong Kong independent theatre. Ng King Lung delivers the line: 'Bhishma, this world is savage; how can one understand the savagery of this world?'

Ng King Lung confronts the surreal brutality of existence in this intense rehearsal of 'Testimony': 'Bhishma, this world is savage; how can one understand the savagery of this world?'

In a scene from Rooftop Productions’ contemporary play 'Testimony' (《山下的證詞》), a performer in a grey long-sleeved shirt stands behind a stark, minimalist table against a dark stage background. Bathed in a single, focused spotlight, the actor is captured in the act of carefully stirring a glass of tea. A white teapot, a small milk pitcher, and another glass of tea are arranged neatly on the table, emphasizing the play's themes of human connection and domestic intimacy in Hong Kong theatre. As the performer stirs, they reflect: 'Integration is two way, it’s a mutual thing.'

In 'Testimony', a quiet moment of reflection unfolds as the performer notes, 'Integration is two way, it's a mutual thing.'

On a dimly lit stage, actor Ng King Lung stands holding a microphone and a folder, delivering a poignant performance in Rooftop Productions' contemporary theatre piece, 'Testimony'. A large-scale projection of Ng's face looms behind him, creating a surreal, double-exposure effect that emphasizes the themes of memory and confession. The dramatic blue lighting highlights his intense expression as he presents his 'Testimony'.

Ng King Lung delivers a poignant confession in a surreal stage sequence from Rooftop Productions' 'Testimony'.

Arisa Yasaratne performs in a rehearsal for the contemporary Hong Kong theatre production 'Testimony' (《山下的證詞》), illuminated by dramatic stage lighting against a dark background. She gestures with her index finger raised, capturing an intense, thoughtful moment. As she delivers her lines during this scene, she remarks, 'There as a movie recently about the world’s most famous Parsee.'

Arisa Yasaratne reflects on identity during a rehearsal for 'Testimony', noting: 'There was a movie recently about the world’s most famous Parsee.'

Arisa Yasaratne stands on stage during a performance of the contemporary Hong Kong theatre production Testimony, holding a small document. She is illuminated by a sharp spotlight against a dark background, with a large, glowing green circular projection behind her and a single teacup resting on the table in the foreground, creating a contemplative atmosphere typical of Rooftop Productions' experimental stage work. Testimony.

Arisa Yasaratne captures the contemplative weight of Testimony as she confronts a lingering past.

In a multimedia performance of the Rooftop Productions (天台製作) show 'Testimony' (《山下的證詞》), actor Ng King Lung stands on a dark stage, his figure partially illuminated by a cool, blue-toned projection behind him. The projection features a larger-than-life, high-contrast close-up of Ng King Lung wearing round glasses and speaking into a microphone with an expressive, animated face. The theatrical lighting highlights the tension between the live performer and his digital persona. As he interacts with the multimedia display, Ng King Lung delivers a monologue: 'I'm pretty familiar with Athenian democracy, the Renaissance, Qin Shi Huang. But with this book, it's hard to even read the names out.'

Ng King Lung confronts the weight of history and unreadable texts in this multimedia scene from Testimony: 'I'm pretty familiar with Athenian democracy, the Renaissance, Qin Shi Huang. But with this book, it's hard to even read the names out.'

In a dramatic scene from the Rooftop Productions (天台製作) performance 'Testimony' (《山下的證詞》), actor Ng King Lung stands on stage with his arms crossed, illuminated by a spotlight against a dark background. Behind him, a large projection screen displays a presentation titled 'Project Gemstone,' featuring a colorful diamond graphic and text comparing the value of gemstones to Non-Ethnic Chinese (NEC) students. 'Testimony'

Ng King Lung confronts the metaphorical value of education in a pivotal scene from 'Testimony'.

In a dramatic scene from Rooftop Productions' contemporary theatre piece 'Testimony' (《山下的證詞》), actor Mohammad Kashif Ali stands on a dark, minimalist stage illuminated by dramatic, high-contrast spotlighting. He gestures with his hands while speaking, positioned in front of a large, dimly glowing digital backdrop featuring an image of a green Pakistani passport. As he shares his personal story, he reflects on his identity, saying, "My English name is Mohammad Kashif Ali."

Mohammad Kashif Ali reflects on his personal history in this pivotal scene from 'Testimony', stating, 'My English name is Mohammad Kashif Ali.'

A dramatic stage shot from Rooftop Productions' contemporary theatre performance, 'Testimony' (《山下的證詞》). Actor Mohammad Kashif Ali stands on stage in a simple grey t-shirt and white skullcap, his expression one of intense focus and vulnerability as he addresses the audience. Behind him, a large, moody blue-toned projection depicts a street scene with traditional Hong Kong architecture and Chinese signage, creating a powerful juxtaposition between the performer and his environment. 'Testimony'

Mohammad Kashif Ali delivers an intimate performance in Rooftop Productions' 'Testimony', reflecting on the echoes of the city.

In a dramatic scene from Rooftop Productions' contemporary theatre piece 'Testimony' (《山下的證詞》), actor Mohammad Kashif Ali sits on a simple wooden chair center-stage, illuminated by a stark spotlight in an otherwise dark, minimalist theatre space. He wears a grey t-shirt and light-colored trousers, gesturing expressively with his hands while narrating a historical account. Behind him, a large projection displays a vintage, high-contrast photograph of the 'Sha Tau Kok Police Station' with text referencing the events of 1967. As the performer reflects on this historical moment in the play, he recounts, '1000 people came to Sha Tau Kok village, came shouting, along the border.'

Mohammad Kashif Ali channels the tension of 1967: '1000 people came to Sha Tau Kok village, came shouting, along the border.'

In a dimly lit, atmospheric stage setting for Rooftop Productions' contemporary theatre piece 'Testimony' (《山下的證詞》), actor Arisa Yasaratne stands at a lit lectern, narrating a story as historical documents are projected onto the screen behind her. The lighting highlights the intimacy of the performance, emphasizing the documentary theatre style. As she delivers a line from the show, she recounts: 'Nazir Ahmed was in the last group of Pakistanis recruited in 1961.'

Arisa Yasaratne portrays historical testimonies in 'Testimony,' recounting: 'Nazir Ahmed was in the last group of Pakistanis recruited in 1961.'

A dramatic stage shot from Rooftop Productions’ contemporary theatre performance 'Testimony' (《山下的證詞》). Actor Mohammad Kashif Ali, wearing a white skullcap, glasses, and casual attire, sits barefoot on a wooden chair against a dark background. Behind him, a projection of a stark, green-tinted building facade evokes a tense, war-torn atmosphere. The performer appears to be delivering a powerful monologue, capturing a moment of profound vulnerability and reflection. As the performer says: "I pulled him down 'please please don't look, there's fire incoming'"

Mohammad Kashif Ali captures the raw tension of conflict in Testimony: 'I pulled him down, please, please don't look, there's fire incoming.'

In a dramatic scene from Rooftop Productions' contemporary theatre piece 'Testimony' (《山下的證詞》), a performer, Ivor Houlker, stands in silhouette before a large, high-contrast projection. The screen displays a close-up of a weathered, aging face, with a smaller, surreal insert of a mouth articulating speech, set against a dark background reminiscent of a political debate. The lighting emphasizes the stark, haunting atmosphere characteristic of the production. As the performer speaks to the audience, the projection echoes the line: 'And David Wilson came down from Scotland to participate in the debate.'

Ivor Houlker invokes the past as he reflects on the moment: 'And David Wilson came down from Scotland to participate in the debate.'

Mohammad Kashif Ali captures a moment of quiet contemplation in Rooftop Productions' 'Testimony'.

A dramatic stage shot from Rooftop Productions' contemporary theatre piece 'Testimony' ('山下的證詞'). The performer Mohammad Kashif Ali stands center stage, illuminated by soft lighting against a deep blue backdrop featuring a large, glowing projection of a Pakistani passport. He gestures calmly while speaking, his expression earnest and contemplative. As the performer speaks to the audience, he says, 'Actually this isn’t my English name, it’s an Arabic name.'

Mohammad Kashif Ali reflects on identity and nomenclature in this pivotal scene: 'Actually this isn’t my English name, it’s an Arabic name.'

In a dramatic scene from Rooftop Productions' contemporary theatre piece 'Testimony' (《山下的證詞》), actor Basnet Tusar stands on stage under moody, low-key lighting. He speaks into a microphone, his expression conveying intensity and reflection. In the background, a projection shows a glowing green image of a passport. 'Testimony'

Basnet Tusar confronts themes of identity and displacement in this gripping moment from Testimony.

Basnet Tusar delivers a poignant performance during Rooftop Productions' contemporary theatre piece, 'Testimony' (《山下的證詞》). Standing under dramatic stage lighting with a microphone in hand, he gestures expressively against a backdrop featuring a digital projection of hands holding multiple passports, reflecting on the identity struggles of Hong Kong. As he speaks, he says: 'So basically after 1997, we would have been stateless, people with no home.'

Basnet Tusar reflects on identity and displacement in Testimony, asking, 'So basically after 1997, we would have been stateless, people with no home.'

A dramatic close-up shot from the contemporary Hong Kong theatre production 'Testimony' (《山下的證詞》), featuring a larger-than-life, high-contrast projection of actor Ivor Houlker. The projection captures a detailed, intense facial expression, while the silhouette of an audience member or performer is visible in the darkened foreground, emphasizing the immersive staging typical of Rooftop Productions (天台製作). The lighting creates a stark, haunting atmosphere on stage. As the actor delivers his lines, he says: 'Testimony'

Ivor Houlker commands the stage in this haunting moment from Testimony, as the production explores the weight of his testimony.

On a dark, minimalist stage for Rooftop Productions' contemporary theatre piece 'Testimony', performer Basnet Tusar stands in a spotlight, holding a microphone in one hand and a wine glass in the other. A larger, ghost-like projection of the same actor appears in the background, mirroring the action. 'They looked embarrassed and they let me in'

Basnet Tusar explores the duality of memory on stage, echoing the line: 'They looked embarrassed and they let me in.'

A dramatic silhouette of actor Arisa Yasaratne stands before a large, luminous projection of a glass containing a dark liquid, a striking scene from the contemporary Hong Kong theatre production 'Testimony' (《山下的證詞》). The lighting emphasizes the stage design and the performer's contemplative posture. Arisa Yasaratne delivers the line, 'I was in Lan Kwai Fong with some friends.'

Arisa Yasaratne reflects on a haunting memory, delivering the line, 'I was in Lan Kwai Fong with some friends.'

In this dramatic scene from Rooftop Productions' contemporary theatre piece 'Testimony' (《山下的證詞》), an actor wearing glasses holds a microphone and a glass of red wine, standing behind a lectern on a dimly lit stage. Beside him, a woman gestures with her hands as if speaking, while a large, ghostly projection of the same man looms in the background, creating a surreal, reflective atmosphere. This performance explores themes of memory and truth, characteristic of Rooftop Productions' unique artistic style. As the actor delivers his lines, he reflects: 'Testimony.'

Basnet Tusar delivers a haunting performance in Testimony, where memory and truth collide on stage. As he notes: 'Testimony.'

In a dramatic scene from Rooftop Productions' contemporary theatre piece 'Testimony', five actors stand in a line on a dimly lit, minimalist stage against a black backdrop. Each performer holds a single passport, representing varying levels of global mobility. The actors are, from left to right: Ivor Houlker, Michelle Li, Ng King Lung, Mohammad Kashif Ali, and Basnet Tusar. Above them, a digital screen displays the question 'How many countries can you visit?'. This powerful stage production explores themes of privilege, citizenship, and identity in Hong Kong. The performers stand solemnly as they reenact the line, 'Line up in order of how many countries you can visit without a visa.'

Ivor Houlker, Michelle Li, Ng King Lung, Mohammad Kashif Ali, and Basnet Tusar reenact the scene, 'Line up in order of how many countries you can visit without a visa.'

A silhouette of a performer stands against a vibrant, multi-colored projection of a circular geometric pattern, evoking the atmospheric and experimental staging style of Rooftop Productions' contemporary theatre piece, 'Testimony'. The stark contrast highlights the introspective nature of this Hong Kong stage production. 'Testimony'

An introspective moment from 'Testimony', where light and geometry converge to reveal the weight of individual memory on stage.

A dramatic close-up of actor Mohammad Kashif Ali during a rehearsal for the contemporary Hong Kong theatre production Testimony (《山下的證詞》). His expression is one of intense distress, with wide eyes and a slightly open mouth, illuminated by stark stage lighting that creates high-contrast shadows against a dark background. "Testimony"

Mohammad Kashif Ali embodies a moment of intense emotional discovery during rehearsals for Testimony.

Arisa Yasaratne performs in Rooftop Productions' contemporary theatre piece 'Testimony' (《山下的證詞》). Bathed in intense blue and warm stage lighting, she wears a light-coloured headscarf and sits before a large, dramatic projection of a face, delivering an emotive monologue. As she speaks, she says, "You know, we need to do a little bit of acting."

Arisa Yasaratne reflects on the nature of performance in this poignant scene from 'Testimony', reminding us that "you know, we need to do a little bit of acting."

Basnet Tusar rehearsing a powerful vocal sequence in Testimony. His performance captures the raw intensity of the play’s core narrative.

In a dim, atmospheric scene from Rooftop Productions’ contemporary Hong Kong theatre piece 'Testimony' (《山下的證詞》), performer Michelle Li stands at a desk, illuminated by a spotlight directed at an open book. A robotic camera arm hovers over the book, capturing its pages as a large-scale, out-of-focus projection of her face looms in the background, creating an intense, layered visual experience. Speaking to the core theme of the performance, Li embodies the sentiment: "One passport, one identity."

Michelle Li confronts the mechanical gaze in 'Testimony,' navigating the weight of her reality: 'One passport, one identity.'

In a dramatic scene from Rooftop Productions' contemporary theatre piece 'Testimony' (《山下的證詞》), actor Mohammad Kashif Ali stands center stage, illuminated by a spotlight while holding a microphone. He is dressed in a simple grey t-shirt, gesturing with his left hand as he delivers an intense, emotional monologue. In the darkened background, another performer is silhouetted and bathed in an eerie green light, emphasizing the production's evocative stagecraft. 'Testimony'

Mohammad Kashif Ali delivers an intense, haunting monologue in Rooftop Productions' latest piece, 'Testimony'.

Four actors stand on a sparsely lit stage in a contemporary theatre performance of Rooftop Productions' (天台製作) show 'Testimony' (《山下的證詞》). From left to right: Mohammad Kashif Ali, Ng King Lung, Arisa Yasaratne, and Michelle Li are dressed in casual, earth-toned clothing. The actors are arranged in a line, with the central two engaged in a dramatic dialogue while the others look on with contemplative expressions, capturing the minimalist and poignant aesthetic of Hong Kong contemporary theatre. "Testimony"

Arisa Yasaratne, Michelle Li, Mohammad Kashif Ali, and Ng King Lung navigate the raw tension of Testimony, where silence speaks as loudly as the dialogue.

In a dim, atmospheric theatre setting, actor Ng King Lung sits at a desk under a focused spotlight while a large projection screen displays a close-up, dimly lit video portrait of him. This multimedia scene is from the Rooftop Productions (天台製作) performance, 'Testimony'. As Ng King Lung delivers a poignant monologue on stage, the screen shows him speaking the line: 'Maybe older people still get affected by it, but not this generation...'

Actor Ng King Lung confronts the weight of the past in 'Testimony,' questioning, 'Maybe older people still get affected by it, but not this generation...'

In this scene from Rooftop Productions’ contemporary theatre piece 'Testimony' (《山下的證詞》), actor Arisa Yasaratne sits in the foreground, illuminated by cool, focused stage lighting as she delivers a monologue. Behind her, another performer sits at a table in semi-silence, while a large, green-tinted projection of a woman’s portrait and archival text serves as the backdrop, highlighting the play's investigative and documentary-style staging. Arisa Yasaratne reflects on her professional past, stating, 'In 1993 I started work with Pricewaterhouse.'

Arisa Yasaratne reflects on her corporate past in this pivotal scene from Testimony, noting, 'In 1993 I started work with Pricewaterhouse.'

A dramatic close-up portrait of actor Mohammad Kashif Ali on stage for the Rooftop Productions (天台製作) performance of 'Testimony' (《山下的證詞》). He is illuminated by high-contrast theatrical lighting, with a piece of dark tape placed over his mouth to suggest themes of silencing and censorship in contemporary Hong Kong theatre. He holds a microphone near his chin, his intense gaze directed toward the audience. He says, 'Oh, they are not that different, pretty normal!'

Mohammad Kashif Ali embodies the silencing of the individual in 'Testimony,' challenging the audience with the observation: 'Oh, they are not that different, pretty normal!'

In a poignant scene from the Rooftop Productions (天台製作) contemporary theatre piece 'Testimony', actor Arisa Yasaratne sits on stage, wearing a light blue headscarf and looking upward with an expression of deep contemplation. Behind her, a massive, vibrant green-tinted projection of her face fills the background, creating a powerful duality between the live performance and the visual installation. The scene captures the raw emotion of this Hong Kong stage production. Arisa Yasaratne speaks: 'Testimony'

Arisa Yasaratne embodies raw vulnerability in this haunting scene from Testimony. As she reflects, her live presence dialogues with the projected past.

Performer Arisa Yasaratne stands on stage during a contemporary theatre performance of 'Testimony' (《山下的證詞》) by Rooftop Productions (天台製作), dressed in a light-colored headscarf and gesturing with an expressive hand. Behind her, a massive, out-of-focus projection of a human face dominates the stage backdrop, creating a powerful visual juxtaposition. As she engages with the multimedia stage design, she delivers a lines from the play, 'You, can you speak with an Indian accent?'

Arisa Yasaratne confronts the complexities of identity in 'Testimony,' questioning, 'You, can you speak with an Indian accent?'

On a dimly lit stage, Arisa Yasaratne interacts with a wooden, robot-like puppet sculpture. Behind her, a large digital projection displays a vintage photograph of two men standing outdoors, providing a historical backdrop for this scene from Rooftop Productions' contemporary theatre piece, 'Testimony'. As she handles the puppet, she reflects on the past: 'My grandpa was stationed on the Hong Kong border from 1970 to 1976.'

Arisa Yasaratne invokes family history through puppetry in a scene from 'Testimony': 'My grandpa was stationed on the Hong Kong border from 1970 to 1976.'

In a dramatic scene from Rooftop Productions' contemporary Hong Kong play 'Testimony' ('山下的證詞'), actor Arisa Yasaratne stands center stage under a sharp spotlight against a dark background. She wears a grey textured sweater and tan trousers, her hands clasped thoughtfully as she addresses the audience with a poignant expression. Above her, a projection displays the questioning text: 'Parents? Culture? Language? Domestic helper?'. "Testimony"

Arisa Yasaratne reflects on identity, culture, and belonging in this poignant moment from Testimony.

A dramatic stage photo from Rooftop Productions' contemporary theatre piece 'Testimony' (《山下的證詞》). In the foreground, actor Mohammad Kashif Ali stands under a spotlight, holding a microphone and looking intensely toward the audience. Behind him, a large projection on a screen depicts a silhouette of a performer against a deep red curtain. The scene captures a powerful moment of reflection, as the actor speaks the line: 'I am in the middle, so I can see both worlds'.

Mohammad Kashif Ali stands in the spotlight for a poignant reflection: 'I am in the middle, so I can see both worlds.'

Arisa Yasaratne performs in a dim, atmospheric scene from the Rooftop Productions (天台製作) show 'Testimony' (《山下的證詞》). Bathed in soft stage lighting, she gestures expressively towards a large, blurred projection of a family photograph showing a man and a young girl. The contemporary Hong Kong theatre staging emphasizes personal narrative and identity, capturing a poignant moment of storytelling. Yasaratne speaks, 'My mom is full Chinese and my dad is ½ Sri Lankan.'

Arisa Yasaratne reflects on her heritage in a poignant scene from 'Testimony': 'My mom is full Chinese and my dad is ½ Sri Lankan.'

Close-up of actor Mohammad Kashif Ali performing in Rooftop Productions' contemporary theatre piece 'Testimony' (《山下的證詞》). Bathed in intense, dramatic stage lighting, he holds a microphone near his mouth, while a piece of black tape is visibly applied to his chin, adding a striking, raw aesthetic to the performance. His intense expression captures the heavy, emotional weight of the production. 'Testimony'

Mohammad Kashif Ali delivers a raw, haunting testimony in this striking moment from our contemporary production.

In a scene from Rooftop Productions' contemporary Hong Kong play Testimony, an actor wearing a grey t-shirt, beige trousers, and a white baseball cap sits on a dimly lit stage floor. He looks upward with a contemplative, slightly pained expression. Behind him, a second performer is partially visible, leaning over a square, table-like structure draped in a white cloth, while a rustic, wooden articulated puppet sits beside the seated actor. The lighting uses dramatic blue highlights, emphasizing the raw, experimental atmosphere typical of HK independent theatre. "Testimony."

Basnet Tusar channels a moment of raw introspection on stage in Rooftop Productions' Testimony.

Basnet Tusar performs in a scene from Rooftop Productions’ contemporary play, 'Testimony'. He sits in a dimly lit, blue-toned stage setting, reaching toward the camera with an intense, earnest expression, while beside him, a crude, life-sized cardboard puppet sits partially obscured by a white curtain. As he interacts with the prop, he delivers the line, "We would stay out all night across the whole Chinese border."

Basnet Tusar shares a haunting reflection on the border as he performs alongside a puppet in Rooftop Productions' 'Testimony': "We would stay out all night across the whole Chinese border."

In a poignant scene from the Rooftop Productions (天台製作) contemporary theatre piece 'Testimony' (《山下的證詞》), actor Basnet Tusar stands center stage, bathed in a single spotlight. Behind him, a large-scale projection shows a vintage, tinted black-and-white photograph of Gurkha soldiers, highlighting the historical military presence in Hong Kong. As he contemplates the legacy of the 48th Gurkha Infantry Brigade, he delivers the line: 'You say everything will be destroyed? Then why fight?'

Actor Basnet Tusar questions the cycle of conflict and resilience, reflecting on the legacy of the Gurkha soldiers: 'You say everything will be destroyed? Then why fight?'

In a dimly lit black box theatre, performer Ng King Lung stands on stage, illuminated by a large digital screen backdrop. The screen displays a repeating, distorted, and recursive visual of Ng holding a microphone, capturing a haunting, multi-layered aesthetic typical of Rooftop Productions' contemporary Hong Kong stage work in 'Testimony'. "Testimony"

Ng King Lung confronts his own digital echoes in this haunting scene from Rooftop Productions' 'Testimony'.

Actor Ng King Lung portrays the weight of professional detachment in this pivotal moment from 'Testimony': 'This isn’t my culture. But it’s OK, I’m a professional.'

In this evocative production shot from Rooftop Productions' contemporary theatre piece 'Testimony' ('山下的證詞'), an actor stands center stage bathed in soft light, his expression one of contemplative intensity. Behind him, a large projection displays historical images of soldiers from the 1816 era, creating a stark juxtaposition between past conflicts and the present-day performer. This multimedia approach is characteristic of the innovative staging found in Hong Kong's independent theatre scene. A text overlay on the screen reads, 'In 1816, they signed the Treaty of Sugauli.'

Basnet Tusar contemplates the weight of history as the Treaty of Sugauli is projected behind him in a pivotal scene from Testimony.

A dramatic stage shot from Rooftop Productions’ contemporary theatre piece 'Testimony' (《山下的證詞》), featuring actor Ng King Lung illuminated by a single spotlight against a dark background. He looks upward with a thoughtful, poignant expression, wearing round glasses and a casual grey shirt. Behind him, projected text reads: 'You said everything will be destroyed? So what’s the use of fighting?'

Ng King Lung confronts the futility of struggle in this pivotal moment from Rooftop Productions’ 'Testimony': 'You said everything will be destroyed? So what’s the use of fighting?'

On a dark, atmospheric stage illuminated by focused spotlights, actor Mohammad Kashif Ali delivers an expressive performance for Rooftop Productions' contemporary Hong Kong play, Testimony. He stands center stage in a grey t-shirt and light trousers, gesturing with both hands as if narrating a poignant moment, while fellow cast members are silhouetted in the background with musical instruments. 'Testimony'

Mohammad Kashif Ali delivers an expressive performance in this pivotal scene from Rooftop Productions' Testimony.

In a dramatic scene from the Rooftop Productions (天台製作) performance of 'Testimony' (《山下的證詞》), actor Mohammad Kashif Ali stands on a dimly lit stage, his body angled toward a central table cluttered with theatrical props and lighting equipment. Bathed in a sharp, bright spotlight from above, he gestures with his hands in an expressive, storytelling motion, capturing the intense and reflective mood of this contemporary Hong Kong theatrical production. 'Testimony'

Mohammad Kashif Ali delivers a powerful performance in this pivotal scene from Rooftop Productions' Testimony.

Portrait of performer Arisa Yasaratne for the Rooftop Productions contemporary theatre piece 'Testimony'. Her face is partially lit by a projection showing the rocky, rugged surface of a mountain, contrasting with the blurred Hong Kong cityscape in the background. Her expression is solemn and contemplative, highlighting themes of urban identity and memory in Hong Kong stage performance. "Testimony"

Arisa Yasaratne embodies the intersection of urban memory and landscape in Rooftop Productions' 'Testimony'.

In a dimly lit stage setting bathed in deep blue light, actor Ng King Lung stands before a microphone, wearing round-framed glasses and a grey henley shirt, delivering a poignant performance for the Rooftop Productions contemporary theatre piece Testimony. Behind him, a partially obscured figure is silhouetted against a luminous blue screen, creating a layered, atmospheric aesthetic typical of Hong Kong experimental stage productions. Ng King Lung performs the lines: "Testimony."

Actor Ng King Lung delivers a poignant performance during the staged reading of Testimony: "Testimony."

Four performers stand in a horizontal line on a dimly lit stage during a rehearsal for the contemporary Hong Kong theatre production, Testimony. They are dressed in casual, earth-toned clothing, illuminated by a single overhead spotlight that creates a dramatic, minimalist atmosphere. The actors (from left to right: Michelle Li, Basnet Tusar, Arisa Yasaratne, and Mohammad Kashif Ali) gaze forward with serious, contemplative expressions, embodying the poignant themes of the show. A screen behind them displays a soft, out-of-focus message in both English and Chinese requesting the audience to switch off electronic devices. “Testimony.”

Michelle Li, Basnet Tusar, Arisa Yasaratne, and Mohammad Kashif Ali embody the poignant gravity of Testimony during rehearsals. The stage falls silent as the cast prepares to share their shared history.

A dramatic stage shot from Rooftop Productions' contemporary theatre piece 'Testimony' ('山下的證詞'). In the foreground, an actor stands at a microphone, singing with focused intensity under spotlight. Behind him, three other performers are seated on stage, playing instruments including an acoustic guitar, a flute, and a harmonium, creating an intimate, atmospheric performance space. 'Before the performance begins...'

Mohammad Kashif Ali, Ivor Houlker, and Basnet Tusar set the mood with an intimate musical prelude. Before the performance begins...

Two actors, Mohammad Kashif Ali and Ng King Lung, perform on a dimly lit stage during a production of Rooftop Productions' play, 'Testimony'. The actors, dressed in casual gray shirts, stand against a stark black backdrop with a projected subtitle that reads: 'I can't read Chinese; I can't play Chinese-looking people.' This poignant moment reflects the core themes of the contemporary Hong Kong theatre performance.

Mohammad Kashif Ali and Ng King Lung confront the complexities of cultural belonging in this pivotal scene from 'Testimony', grappling with the provocative realization: 'I can't read Chinese; I can't play Chinese-looking people.'

A dramatic close-up portrait of actress Michelle Li for the contemporary Hong Kong theatre production 'Testimony' (《山下的證詞》). A projection of a rugged, mountain-like landscape is cast onto the right side of her face and neck, blending natural elements with her skin. Her expression is solemn and introspective, reflecting the themes of memory and displacement explored in this Rooftop Productions show. Testimony.

Michelle Li embodies the weight of memory in this introspective moment from Testimony.

A dramatic promotional portrait for the contemporary Hong Kong theatre production Testimony, featuring actor Basnet Tusar. He is shown from the chest up against a blurred urban background, with a striking projection of rugged mountain textures cast across the right side of his face and neck, symbolising the collision of nature and memory. Testimony.

Actor Basnet Tusar embodies the intersection of nature and memory in this promotional portrait for Testimony.

Actor Ng King Lung embodies the rugged internal landscape of Testimony, where urban memory meets nature.

A close-up promotional portrait of actor Ivor Houlker for the contemporary Hong Kong theatre production 'Testimony' (《山下的證詞》). A projection of an aerial cityscape is cast across the right side of his face and neck, creating a striking contrast between the natural lighting on his left and the projected urban imagery. His expression is somber and contemplative, capturing the experimental, multimedia aesthetic often associated with the work of Rooftop Productions. 'Testimony'

Ivor Houlker embodies the somber, introspective themes of Rooftop Productions' multimedia stage work, Testimony.

Promotional poster for the Rooftop Productions contemporary documentary theatre show 'Testimony' (《山下的證詞》). The image features a close-up portrait of a young South Asian man looking directly at the camera with a neutral, contemplative expression. A dramatic lighting projection overlays his face, casting the textures of mountainous terrain onto his skin, symbolizing the journey from the Himalayas to Lion Rock. The bold white Chinese title occupies the left side of the frame, while the dates and venue details for this Hong Kong-based performance are listed at the bottom. Testimony leaflet front.

The promotional poster for 'Testimony' illustrates the cross-cultural journey of a young South Asian man, mapping the rugged path from the Himalayas to Hong Kong's Lion Rock.

The back of the promotional leaflet for 'Testimony', highlighting the visual motifs of shadowed identity and the South Asian experience in Hong Kong.