The celebrated 15-show run of the stage play, “No Place is Totally West: A Story of Besties,” starring actresses Mandy Wong and Harriet Yeung (known as Ha Tau), concluded this past weekend, culminating in a surprise-filled final curtain call that underscored the importance of local performing arts and cinema. The successful theatrical engagement not only cemented Wong and Yeung’s comedic talents but also served as a moment to champion Hong Kong’s creative industries, with both artists and the production team urging audiences to support local films currently in cinemas.
During the emotionally charged finale, the director and leads extended gratitude to the crew and audience before shifting focus to cinematic promotions, specifically mentioning the recently released film It Should Be Happy Today and the upcoming Chinese New Year feature, A Golden Treasure. The show’s ultimate surprise came when Yeung unexpectedly joined Wong and three other female cast members for a lively rendition of the classic song, “Years of Friendship,” with an oppa actor from the production providing an impromptu beatbox accompaniment, igniting the already enthusiastic crowd.
Breakthrough Roles and Comedic Triumphs
The conclusion of the run brought heartfelt reflections from both leading ladies about the intense effort required for successful comedy. Yeung admitted that returning to the genre after a long hiatus presented a significant, yet beneficial, challenge. “It’s genuinely difficult to make an audience laugh these days, but the feedback we received—that people were laughing uncontrollably for two full hours—was incredibly rewarding,” she shared.
Wong echoed the sentiment of rapid completion and deep satisfaction. “Fifteen shows flew by,” she noted, describing the final performance’s deafening applause as a “perfect ending.” For Wong, who typically plays serious or reserved characters, this production represented a major departure. “I’ve always longed to challenge myself with comedy,” she revealed. “The greatest joy is bringing happiness to the audience; seeing their satisfied smiles is the ultimate reward for an actor.”
Both actresses detailed how much of the play’s most memorable and outlandish scenes were born from spontaneous improvisation during the rehearsal process. Wong recounted one particular physically demanding move—dubbed the “table bench” maneuver in rehearsal—which became a crowd favourite. She also revealed the significant challenge of delivering profanity-laden dialogue naturally, necessitating frequent at-home practice, a challenge Yeung playfully praised.
Developing Dynamic Chemistry
The intense, round-the-clock preparation for the play significantly deepened the connection between the two leads, who were collaborating for the second time. Wong praised their complementary personalities, finding the partnership “extremely comfortable” and mutually dedicated to refining the craft.
Yeung emphasized how their tight-knit rehearsal period fostered an essential on-stage synergy. “We learned so much more about each other. We saved each other when one of us made a slip-up, building a crucial stage chemistry,” she explained, regretting that the final performance—which felt the most seamless—also marked its closing.
The play’s overwhelming positive reception and strong box-office performance have rapidly generated calls for a potential return. Both Wong and Yeung voiced their strong desire to produce repeats, sequels, or even expand the concept into a cinematic property, hoping to share the laughter with audiences beyond Hong Kong. Yeung specifically advocated for a future project where they might switch roles, or perhaps challenge herself with the rare opportunity to play a villainous role in a stage production.
With the success of “No Place is Totally West,” the stage stars are hopeful for a “2.0, 3.0, and 4.0,” emphasizing their conviction that the public continues to crave joyous, high-quality entertainment.
