The mastermind behind Hong Kong’s first long-running musical is betting big on the road. Tom Chan, the young artistic director of Explosion Theatre, gathered his cast in Foshan, China, to launch the “Youth Spin-off Theatre Trilogy” for an ambitious tour that will stage over 120 performances across 11 Asian cities.
The three works—The Last Hour of Ko’s Coffee, Nancy’s Chat Show, and Yan Tak Storm—are spin-off narratives extending the universe of Chan’s celebrated hit Our Youth Journal. Following a strong debut in Hong Kong last year, the trilogy is returning with significantly upgraded production elements. The shows are transitioning from their intimate original stage to mid-sized theatres, with enhanced sets, lighting, and sound design to serve larger tour audiences.
Joining Chan at the launch ceremony were cast members including Wong Ho Yin, Sam Shum, Hai’er, and Wan Tin Man. Actors Wong Ho Yin and Sam Shum, who alternate in the central role of Ko Lap Yan in The Last Hour of Ko’s Coffee, delivered some of the most candid remarks of the event.
Wong recalled feeling initially “tricked” by the workload—a dense 30-page script and 16 musical numbers for a run of only five performances. The emotional impact of the narrative ultimately won him over. A protégé of Chan, following veteran actor Dan Danyan in a formal line of mentorship, Wong described the unique thrill of the stage. “My heart races so fast on stage, it brings back the feeling of first love. Every audience is different, and that energy gives me a huge surprise and strength,” he said, visibly moved by the journey from early rehearsals to a major Pan-Asia announcement.
Sam Shum highlighted the maturity of the writing. “The director is young, but he wrote a character who is a man that has been through a lot in life. This person has a deep philosophy on different subjects in life,” Shum explained. He attributed the dual casting to the authentic life experience he and Wong can channel into the nuanced role.
The tour marks a watershed moment for Hong Kong’s original theatre scene. Our Youth Journal already demonstrated a robust local appetite for Cantonese long-form musicals. Expanding these spin-offs into an 11-city circuit upgrades the entire commercial and logistical scope of the project. It represents a significant vote of confidence in the export potential of the city’s performing arts, aiming to establish a distinctly Hong Kong narrative in a regional market long dominated by international imports.
For the cast, the scale of the undertaking remains surreal. “I never imagined we would come to Foshan or other parts of Asia for a tour of this size. This is a very memorable day for me,” Wong reflected. With its blend of sharp writing, beloved characters, and upgraded spectacle, Chan’s trilogy is forging a path for original Cantonese theatre to build a lasting footprint beyond Hong Kong.