Indy is also an excellent solo performer. Using the simple and organic theater form, he wrote, directed, and performed in “A Better Man" and “A Better Art" which was adapted from Chekhov’s “Seagull", the former was nominated for the Best Actor at the 4th Hong Kong Theatre Libre. In 2018, he created another solo performance in form of double bill with a British actor, Bill Aitchison, “It Won’t Be Long Now" which was about the Japanese occupation of Hong Kong for the Centre for Community Cultural Development. This work premiered in Hong Kong in 2018, toured the UK in 2019, was performed at the Edinburgh Fringe Festival in 2023, and won the Fringe Choice Award at the Taipei Fringe Festival in the same year. It has been invited to the International People’s Theatre Festival 2025, where it will be performed at Sarwanam Theatre in Kathmandu and Itahari in Nepal.

Indy 亦是一位出色的獨腳戲表演者，以簡約及靈活的劇場形式，自編、自導、自演《男人事．男人是…》、改編自契訶夫《海鷗》的《我不是一隻海鷗》，前者獲第四届香港小劇場最佳男演員提名。在留美期間，以旅美的生活及體驗為題，創作了獨腳戲《三個骨》。2018年，與英國演員Bill Aitchison 為社區文化發展中心創作有關日佔香港時期的獨腳戲演出《明日陽光燦爛》。2019年夏天，《明》到英國倫敦、列斯及莫克姆巡演。2023年夏天，《明》再到愛丁堡及台北藝穗節演出，並獲台北藝穗節精選獎。《明》獲邀參加國際民眾劇場節2025，並在 尼泊爾加德滿都的 Sarwanam 劇場 和 伊塔哈里 演出。

明日陽光燦爛 (香港人版本)

It Won’t Be Long Now (Hong Kongers’ Part)

Stories of the Japanese Occupation of Hong Kong in World War II

第二次世界大戰日佔香港的故事

photos@arliugraphy

It Won’t Be Long Now is created, directed, and performed by Indy Chun-leung Lee (performed in Cantonese and English). This solo performance revolves around the period from 1941 to 1945 during the Japanese occupation of Hong Kong, portraying the lives of the civilians outside the Sham Shui Po camp for 3 years and 8 months, experiencing “liberation" and “modifications." Despite the circumstances, they persist with their willpower, displaying a burning desire for survival, dignity, and the radiant side of human nature. They are not afraid, never discouraged, but full of hope for tomorrow!

This solo performance has been regularly staged in the UK since July 2023. It has been invited to the International People’s Theatre Festival 2025, where it will be performed at Sarwanam Theatre in Kathmandu and Itahari in Nepal.

《明日陽光燦爛》由李俊亮創作、導演及以廣東話及英語演出。這獨腳戲內容圍繞1941年至1945年日佔香港，呈現3 年零8個月深水埗戰俘營外居民的生活被「解放」及被「修改」，如何在嚴苛環境中掙扎求存。即使日子如何，仍然堅持意志，展現燃起對生存的欲望、尊嚴，以及人性光輝的一面。不害怕，不氣餒，信有明天！

這個獨腳戲自 2023 年 7 月起便在英國定期演出。演出獲邀參加國際民眾劇場節2025，並在 尼泊爾加德滿都的 Sarwanam 劇場 和 伊塔哈里 演出。

明日陽光燦爛 It Won’t Be Long Now

Stories of the Sham Shui Po Prisoners of War (POW) Camp: Inside & Outside

Consisting of two solo performances, It Won’t Be Long Now is created, directed, and performed by Bill Aitchison and Indy Lee. It tells the stories of Hong Kong civilians outside and inside of POW camp, with some material taken from Graham Heywood’s memoir – “It Won’t Be Long Now: The Diary of a Hong Kong Prisoner of War." The performance revolves around the period from 1941 to 1945 during the Japanese occupation of Hong Kong, portraying the lives of the civilians outside the Sham Shui Po camp for 3 years and 8 months, experiencing “liberation" and “modifications." Soldiers from different countries such as the UK, Canada, and India, who became POW after being captured by the Japanese, struggle to survive in a harsh environment. Despite the circumstances, they persist with their willpower, displaying a burning desire for survival, dignity, and the radiant side of human nature. They are not afraid, never discouraged, but full of hope for tomorrow!

由兩部獨角戲組成（由社區文化發展中心和Bill Aitchison Company製作），由李俊亮（Indy Lee）和Bill Aitchison創作並演出。Bill Aitchison的創作建基於Graham Heywood在香港日佔時期的回憶錄——《It Won’t Be Long Now: The Diary of a Hong Kong Prisoner of War》。Heywood先生曾被關押於英軍位於深水埗的軍營，此軍營後來被日軍改造成外籍戰俘營。他的回憶錄講述了在營內遭受虐待、壓迫以及艱難的生活。

此作品於2018年在香港首演，2019年在英國巡演，並於2023年愛丁堡藝穗節（Edinburgh Fringe Festival）演出，並在2023年台北藝穗節獲得「藝穗精選獎」（Fringe Choice Awards）。

《198幾年一小時．生活圈》198X: One hour． circle of Life

What is Autobiographical Community Cultural Tour?

This concept seems to celebrate the intertwining of personal stories with community dynamics. The idea that each individual has a unique tale connected to the “time, place, and people" of their community transforms guided tours into deeply emotional and cultural exchanges. It brings out the richness of everyday life and its ties to history—making the familiar streets resonate with meaning.

198X: One Hour．Circle of Life

Your narrative about growing up in 1980s Cheung Sha Wan provides a vivid snapshot of childhood experiences—parents as street vendors, the longing for trendy sneakers, and life within a one-hour radius of home. The exploration of sites like markets, cinemas, schools, and vanished landmarks paints an evocative portrait of an era. Through the journey, the footpaths of Cheung Sha Wan seem to mirror the formative steps in your personal growth and identity.

The historical background of Cheung Sha Wan, with its evolution from a sandy bay to a bustling mixed-use district, adds depth and context to your story. The blending of old and new cultures in the area creates a fascinating tapestry of community life.

This community cultural autobiography has been conducted in Cheung Sha Wan on an irregular basis since 2015. The last in-person guided street tour took place in January 2020, just before the pandemic began. During the pandemic, the project adapted by transitioning to an online format using Zoom, offering virtual tours under the title “Online Journey."

何謂《社區文化自傳》﹖

導賞者從自身故事、個人經驗及歷史，連結社區的時、地、人而發展出來的導賞內容及形式；每個人都有一個屬於自己與社區的故事。

《198幾年一小時．生活圈》

Indy是成長於八十年代的街童。父母是鞋檔小販，自少只能穿自家賣的鞋，經常羨慕同學可以穿時款波鞋。當年可花費的娛樂不多，街童生活只能在家的一小時步行範圍內的街頭及電影院消磨。Indy每天穿著自家賣的鞋，用腳走過長沙灣的街道，上學、遊玩、追逐，學習成為「男人」的經歷。網上遊的路線先由長沙灣港鐵站出發，途經元洲新邨、昔日的昌華街大排檔、長沙灣小販排檔、消失了的電影院，行到Indy中學的母校….

有關長沙灣

位於荔枝角和深水埗之間，原是一個長形沙灘，海岸綫為長沙灣道位置附近，所以被稱為長沙灣。當年的海旁則有一條小鄉村名為長沙灣村，即約為現時元州新邨及長沙灣站的位置。區內有出土李鄭屋東漢古墓，學者推斷東漢時期已有人居住。海灣在20世紀初期深水埗第一次填海完成後亦陸續填海，部分土地開發為當年英軍的深水埗軍營，而原有土地 (青山道、元州街一帶) 則屬混合式用途，有工業區、商業區及住宅區；區內亦住有不同種族、階層的人士，新舊文化交織下，形成地區的特色。

此社區文化自傳自2015年不定期的在長沙灣進行，直至2020年1月在疫情發前，為最後一次街上導賞。在疫情期間，曾以《網上遊》Zoom形式進行。

我不是一隻海鷗 A better Art

After Indy Lee created the first piece of “A Better Man" in 2011, which was themed on fatherhood, manhood, personal growth, and traditions, he once again created and performed the second piece “A Better Art". 《A Better Art》 The creation is based on the protagonist Konstantin Gavrilovich Treplev (Konstantin) in the play “Seagull" by the Russian playwright Anton Chekhov. According to the prototype of Konstantin in the original script, exploring the world of characters outside the script, and creating characters for solo performance.

In “Seagull", Konstantin is a depressed new theater writer. His plays are incomprehensible to others, and his love for people is unmatched. The art form he cares about is like empty lines, sound but powerless. What puzzles Konstantin the most is his relationship with his mother (an excellent actress) and his views on the art of Trigorin (his mother’s lover and an excellent writer). Living under the shadow of the master, how can he break through and get out of the box? As an insignificant young man, who speaks unnoticeable, even if there are novel works? Konstantin, Chekhov, and even Stanislavsky, characters and real people are looking for the way of art, that is, we are in the 21st century, similarly, experienced a way of creating in the theater, once lost and complacent , motivated, loss, frustration, self-deprecating… experience and understanding.

Adapted, Directed and Performed: Indy Lee / May 2015 / Black Box Theatre, Hong Kong Repertory Theatre

李俊亮繼2011年創作以父親、男人、成長及傳統為題的《男人事，男人是….》(A Better Man) 的首部曲後，再次以獨腳戲形式創作及演出第二部曲《我不是一隻海鷗》(A Better Art)。 《我不是一隻海鷗》 創作選材自俄國劇作家契訶夫的劇作《海鷗》中的主角 – 康斯坦丁•加甫利洛维奇•特烈普列夫 (康斯坦丁)，根據原著劇本中康斯坦丁就原型，發掘角色在劇本以外的故事世界，創作獨腳戲演出的人物。

康斯坦丁在《海鷗》中是個鬱鬱不得志的新派劇場編劇，他的戲別人看不懂，他對人的愛沒有人稀罕，他所關心的藝術形式，就如空洞的台詞，有聲但無力。最令康斯坦丁不解的是他跟媽媽 (出色的演員) 的關係及對特里果林 (其母的情人，亦是出色的作家) 藝術的見解。活在大師的身影下，他可以如何突破，走出框框﹖作為一個微不足道的小伙子，人微言輕，就算有新穎的作品，那又如何﹖ 康斯坦丁，契訶夫，甚至是斯坦尼斯拉夫斯基，角色及真實的人物在尋找藝術之道，就是二十一世紀的我們，同樣，經歷在劇場創作的一條路，曾有迷失、自滿、衝勁、失落、鬱結、自嘲…… 的經歷和體會。

改編、導演及演出﹕李俊亮 / 2015年5月 / 香港話劇團黑盒劇場

男人事．男人是……. A Better Man

“A Better Man" is presented with a miminal theatrical setting. Indy Lee plays the father, himself and his son respectively. This is the story about how he realizes his own dreams, how he learns to grow up as a Man, how he meets other people’s expectations of him, how he becomes a “good" man (to be a better man) in the time being. The performance is like reading a book about that Three Generations of a man in his Forty.

Playwright, Performer and Director: Indy Lee / June 2011 / Cattle Depot Theatre, Hong Kong

《男人事、男人是……》以簡約的劇場表演形式，由李俊亮一人分別飾演父親、自己及兒子，演繹三個不同時代而又同出一系的男性，在時空中穿梭，如何去實現自己的理想，如何去學習起為大人，如何去滿足別人對他的期望，如何可以做「好」男人 (to be a better man) 的故事﹔演出就如細味地讀出一本男人四十的三世書。

編劇、演出及導演﹕李俊亮 / 2011年6月 / 牛棚劇場香港

三個骨 Three Quarters

Three Quarters – A show about a man in a city

I still haven’t found what I am looking for…..

Before the people farewell me, I set up to say goodbye to my friends and the city.

三個骨 – 有關一個人在一個城市的演出

來怱怱，去也怱怱。只是我們碰不上。

人家未有歡送我的準備，我先為自己安排的告別。

The Words from A Man

This is about the experience of contact, happening in the years when the world was flat as the people thought. I am a person from Hong Kong granted a fellowship to travel in the United States as a visiting artist. In between learning and studying American theatre and culture, I have also experienced the cultural and language difference while I have been staying in New York City and other cities in the US in the last ten months. During the time, I am frustrated, confused, and disappointed by being included or excluded from this culture. One day, I come up with an idea to develop a performance which is about the experience I had here. It is not to have a chance to perform in New York. But, I would like to decide to leave something here since I don’t know what I will take back home with me. Before the people farewell me, I arrange an occasion to say goodbye to my friends and the city.

In preparation, I chose ‘Three’ as a starting point of my creation instinctively. I picked up three strangers? who I always meet, three places, three actions, three objects, three songs and three languages (poor diction of Cantonese, Crappy Mandarin and Broken English).

Solo performance means: an only person on the stage, an individual in the city, a foreigner in a foreign country. There is no partner, no people to rely on, no dialogue. The process of self-discovery and making contact with the people filled with loneliness, desperate and ………. Occasionally, connected with the people, it could find comfort while I feel despair. Is it the living style of a Metropolitan? Things go fast as well as the people and relationships of the people. No one cares? Or I still have not found what I am looking for.

Ten months, it is also like the time for a mother to give birth to a new born baby. This time, I am the mother, as well as the baby.

Written, Performed and Directed by: Indy, Chun Leung Lee (Hong Kong)

Dramaturge: Ashley Kelly-Tata (USA)

Visual: Wentong Bian (China)

Video: Ellen Yuen (Hong Kong)

Graphic Design: Pak Sheung Chuen (Hong Kong)

Performed in Cantonese, English and Mandarin

August 11 2007 / Auditorium, Taipei Cultural Center of TECO in New York

一個人的話

這個是有關接觸的經歷，發生在人人以為世界是平的年頭。我，一個拿了獎學金的香港人，來到美國遊學。我在學藝和認識美國劇場之餘，在紐約及美國其他地方的十個月，體驗到人和事、文化和語言上的差異。從進入到不能進入之間、都叫我有混亂、張狂、無奈和失望。突然一天，心血來潮，要發展一個有關自己在這裡經歷的演出。不是因為有機會在紐約演出，而是，在未知可帶走什麼東西回去之前，先決定把自己的一些留下來。人家未有歡送我的準備，我先為自己安排的告別。

我直覺地選了「三」作為這個創作的開始。我選了三個經常碰面的陌生人，三個地方，三種行動，三件物件，三首歌，三種語言 (懶音廣東話、爛國語、Broken English)，去將我在這裡的經歷在劇場裡表現出來。

一個人在一個城市的演出：代表自己一個人在台上，一個人在城市裡，一個異地人在異鄉，沒有依靠沒有對手沒有對話，在自我尋找與人聯繫的過程，是孤單失落和寂寞。不定時有的搭上線，是生活中的甜頭，解一時三刻的無奈。是大都會的生活模式？來怱怱，去也怱怱。沒有怪誰，只是我們碰不上。

十個月，是母親懷胎產子的時候，一個新生嬰兒的誕生。這次，我是母親，也是嬰孩。

邊緣．視角 My Life on the Fringe

The Indian dancer. The British Indian Army. The lost pearls in Tai Po. The cormorants that are forced to migrate. Which of them belongs here, and which ought to live in the fringe?

Uday Sathala came from India to Hong Kong to pursue his dreams in dancing. Hong Kong provided him with the opportunities he always longed for, followed by a sense of alienness due to his differences with the locals. This bizarre city triggered the memories of his hometown–Hyderabad.

This unique solo play covers various styles from traditional to contemporary Indian dance, which will be rich in gestural vocabulary telling the stories of Hong Kong, Tai Po and Hyderabad.

Premiere on July 2022

Produced by BEYOND Bollywood & Centre for Community Cultural Development

Playwright: Augustine Mok / Performer: Uday Sathala / Director: Indy Lee

此獨特的獨角戲由BEYOND Bollywood及社區文化發展中心製作。它以不同的舞蹈風格呈現，從傳統到當代的印度舞蹈，融合豐富的手勢語彙講述香港、大埔和海德拉巴的故事。

敘述中包含了一位印度舞者Uday Sathala的經歷。他為追求舞蹈夢想而來到香港，雖然這座城市為他提供了渴望已久的機遇，但他卻因文化差異而感到疏離。這種奇特的城市氛圍引發了他對家鄉海德拉巴的回憶。

此外，演出還融入了環保概念，旨在提升觀眾對自然的關注與保護意識。透過舞蹈與敘事，這部作品不僅展現了跨文化的深刻反思，也倡導對自然環境的珍視。

2022年7月首演

BEYOND Bollywood 及社區文化發展中心製作

編劇﹕莫昭如 / 表演者: Uday Sathala / 導演: 李俊亮

緣來印象 An encounter with Ganesha

An Encounter with Ganesh beautifully weaves the personal journey of Hong Kong Indian dancer Kyrstal with broader themes of cultural differences, personal growth, and faith. By sharing her heartfelt connection to Indian dance and culture, the production underscores how art transcends boundaries, empowering individuals and bringing together people of diverse backgrounds and abilities.

The innovative blend of drama and Indian dance—rarely seen in local theatre—offers audiences an immersive experience. It delves into India’s vibrant traditions, from its languages and food culture to transportation, religion, and celebrations like the Holi festival. Grounded in Krystal’s true experiences, the play exudes authenticity, fostering empathy and deeper engagement.

Premiere in Dec 2023