John Richard Duffy, whom his friends knew as “Richard” or just “Duffy”, was a successful thirty-three-year-old solicitor and businessman who in 1978 had been working in Hong Kong for eleven years. He was a man who elicited both hatred and affection, and has been described as “a Robin Hood character”. He was openly bisexual, with, if anything, a preference for youths, a man who took innumerable sexual partners and who was contemptuous of the legal restrictions placed upon homosexuals in Hong Kong. In this, and some alleged in perhaps other areas also, he sailed very close to the line, but he did so with much warmth of character and a visible twinkle in his eye. He was, therefore, a popular man to many, although not in the police force, at whom he cocked a continual snook. He had friends across all segments of Hong Kong society, and didn’t mind whether he mixed with taipans, barristers, high officials, or the poverty stricken, as long as he found them amusing.
Not all operas or performances are about the singers. The star of the Welsh National Opera’s performance of Pelléas et Mélisande at the Hong Kong Arts Festival was its orchestra and conductor Lothar Koenigs who did Claude Debussy’s seamless score proud.
In January 1980 a young police officer named John MacLennan committed suicide in his Ho Man Tin flat. His death came mere hours before he was to be arrested for committing homosexual acts still, at that point, illegal in Hong Kong. But this was more than the desperate act of a young man, ashamed and afraid; both his death and the subsequent investigation were a smokescreen for a scandal that went to the heart of the establishment.
Nigel Collett’s A Death in Hong Kong: The MacLennan Case of 1980 and the Suppression of a Scandal has won the 2017 Royal Asiatic Society Hong Kong History Book Prize.
Ballet, which communicates visually and eschews words, is perhaps the antithesis of literature which does entirely the opposite. So how does one transform an eight-hundred page novel with a dozen important characters and several major plot lines into a two-hour staging using only movement and music? You might well ask.
It’s not often, if ever, that Hong Kong holds two opera world premieres in a single week; 2018 is off to a good start.
Not only is The Silver Age: Origins and Trade of Chinese Export Silver a useful companion to the Hong Kong Maritime Museum exhibition of the same name, the catalog has enough material, extending well beyond the exhibition, to be a valuable volume in its own right.