Renowned Hong Kong lyricist Chris Shum Wai-zung, who has spent over 30 years navigating the world of drama and musical theatre, hosted a salon* in the local café “Bookand” about lyric writing earlier this month.
The event attracted approximately 50 attendees, including musicians, songwriters, theatre creators, performers, and educators, who were interested in learning about the intricacies of lyric writing.
Shum’s presentation, a prominent figure in the Hong Kong music scene, discussed his extensive experience in writing lyrics for films and television, as well as his contributions to musical theatre in Hong Kong, Taiwan, and Macau. He has also translated numerous foreign musical theatre plays into Cantonese.
During the salon, Shum elaborated on his creative journey in writing lyrics for musicals, focusing on the nuances of Cantonese lyricism. He explored various aspects of lyric writing, including the richness of language and the importance of understanding different cultural contexts. Shum emphasised the need for lyricists to have a diverse vocabulary that resonates with people from various social strata –whether they are affluent individuals, intellectuals, or those from lower socioeconomic backgrounds.
“Musicals often feature characters from different levels of society and mindsets, so it’s crucial for lyricists to consider how these individuals express themselves,” Shum explained. He noted that even the use of slang or vulgar language can be sophisticated and varied, reflecting the complexities of life experiences and interactions.
Fostering local musical theatre
The salon was organised by Choi Leng Chi, a local theatre director who expressed gratitude for Shum’s willingness to talk about his expertise. Choi noted that it had been a long time since Shum’s last visit to Macau, making the event an excellent opportunity for local artistes to engage with a seasoned professional. She encouraged attendees to pay attention to the creation of musical theatre and Cantonese songs, hoping to inspire the development of local productions.
Local playwright Mok Keng Fong expressed his appreciation for the opportunity to engage closely with Shum, noting that the workshop provided a valuable chance to learn about the basic techniques of lyric writing and how to develop a sense of language. He found Shum’s suggestion for beginners to practise by rewriting classic musical theatre songs with Chinese lyrics particularly useful, as continuous practice is essential for honing one’s skills.
Vong Tin Ian, vice-president of the School of Theatre at the Macao Conservatory, also shared his thoughts during the event. He highlighted that while there is a market for musical theatre in Macau, there is a pressing need to cultivate more talent, enhance appreciation for the art form, and train more behind-the-scenes professionals. “Local talent exists, but the general public’s familiarity with musicals is still lacking,” he said.
“I hope to see more diverse salons in the future, allowing Macau residents to connect with external artistes,” Choi remarked. “These activities serve as valuable platforms for artistic exchange, fostering a greater appreciation for the beauty of Cantonese music and theatre.”
Shum’s insights during the event shed light on the artistry behind lyric writing, emphasising the importance of a rich vocabulary and an understanding of the social dynamics at play. His recent works include “The Impossible Trial” and “I Am What I Am,” along with the newly published script collection for the musical “The Woman in Kenzo.”
Interested individuals can view more information on Shum’s official social media page at https://www.facebook.com/chrislyrics.
*A salon is a gathering of people held for discussion, where intellectuals, artists, and others come together to share ideas and promote cultural exchange. – Source: Poe
Chris Shum Wai-zung gestures during his speech in a salon event about lyric writing earlier this month. – Photos: Bob Wong
