Testimony Gallery

A widescreen cinematic thumbnail for the full stage performance video of 'Testimony' (《山下的證詞》) by Rooftop Productions. The image features three actors standing side-by-side on a darkened, minimalist theatre stage. The center actor, a man in a grey t-shirt, stands flanked by two women also dressed in neutral-toned, casual grey tops, all facing forward with serene, contemplative expressions. The dramatic low-key lighting highlights their faces against the black void, emphasizing the intimate and raw nature of this contemporary Hong Kong theatrical production.

Promotional video thumbnail for the contemporary Hong Kong theatre production 'Kashif - Testimony', featuring a widescreen cinematic shot of the lead actor looking upward with an engaged, expressive smile. The background is a plain, warm-toned wall displaying the name 'KASHIF ALI' handwritten in bold, black marker, reflecting the raw, documentary-style aesthetic of Rooftop Productions (天台製作).

Promotional video thumbnail for the contemporary Hong Kong theatre production 'Testimony' (山下的證詞), featuring an interview with actor Ng King Lung. The widescreen cinematic frame captures a medium close-up of Ng King Lung against a neutral, softly lit studio background. He wears dark-rimmed glasses and a black t-shirt, smiling warmly and engaged in conversation. To the right, blurred Chinese calligraphy representing the show's title is partially obscured by a gesturing hand, emphasizing the artistic and behind-the-scenes nature of this HK performing arts showcase.

Promotional video thumbnail for the contemporary Hong Kong theatre production Testimony (山下的證詞), featuring a widescreen cinematic shot of cast member Arisa. She is shown in a brightly lit, warm-toned indoor setting, looking towards the camera with a joyful, candid smile. Behind her, a wall displays her name 'ARISA YASARATNE' and her Chinese name '李里莎' written in bold, handwritten-style lettering, capturing an intimate behind-the-scenes look at the performers behind Rooftop Productions' latest stage work.

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

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.

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.

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...

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.

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.'

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."

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 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'.

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?'

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.

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?'

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 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.

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.'

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.'

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.'

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'.

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.

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!'

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.

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."

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?'

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...'

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.

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

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 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 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.'

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.'

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.'

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.'

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.'

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.

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.'

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 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.'

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.'

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.'

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.

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 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'.

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.

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.'

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'.

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 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 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 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 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 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.