At first, it may seem that a 17th century French adaptation of an ancient Greek legend would be a strange choice to stage in a very 21st century Asian city. Yet two years ago a production of Jean Racine’s Phaedra was a multi-award winner at the Hong Kong Drama Awards and was so successful that director Tang Shu-wing is reprising it this year. Why? “The contradictions within and among the characters, the universal theme of human love and jealousy and the beautiful language make Phaedra a very good play to stage,” he explains.

Phaedra may be a character out of pre-history but her story has been echoed by men and women throughout the ages. The daughter of Minos and wife of Theseus, the King of Athens, she fell in love with her stepson Hippolytus. Upon the rumour that Theseus had died in a war, Phaedra revealed her love to Hippolytus, but was rejected as the young prince’s heart belonged to Aricie, the only offspring of an enemy of his father. When Theseus returned from battle very much alive, Phaedra’s servant, fearing that Hippolytus would denounce her mistress, confided in him that Hippolytus had raped Phaedra. The tragedy of love and jealousy that followed, according to Tang, is what makes Racine’s work a French classic.

Tang is a lecturer at the Academy of Performing Arts and won the Best Director award in the Hong Kong Drama Awards for Phaedra’s first run in 2005. Although the play may conjure pictures of local performers dressed as ancient Greeks mouthing interminable poetics, Tang’s vision is much more modern – even minimalist. He is wary of fitting the drama to his own interpretation, fearing that would limit his audience’s imagination and full experience of the tragedy. As with his previous work, Princess Changping, an adaptation of a classic Cantonese opera, he will “use only what is necessary on stage”. A slanted floor, a chair, Bach’s Cello Suite No. 5 and poetic lighting are all he gives his group of young bare foot performers and demands in return their commitment and energy. And the text itself seems to support such a spare approach. “No specific time or location is mentioned in the script, and there are few stage directions,” the dramatist says, which throws the impetus on the actors to bring the play to life. Basically all they have is themselves. “It is good for actors to reveal their potential through their bodies, and so express the emotions and reasons behind their actions,” says Tang.

Getting the group of young actors to understand the motivation behind every action is Tang’s most difficult job, mostly because their backgrounds are so dissimilar from those of the characters in the French magnum opus. During rehearsal, puzzled cast members may spend 15 minutes discussing details like why Hippolytus would choose to leave Athens on his father’s return and, as Ching Lai, who plays Phaedra, says, unexpected questions from Tang often force them to delve deep into their own motivations. The process is painful for some of them at first, especially when they need to learn how to express themselves through their bodies. But Tang hopes the cast can inhabit their roles – rather than merely impersonate characters – and capture the audience through communication with their bodies. “There is not only rational analysis in acting,” he says.

When Phaedra took Best Production of the Year, Best Director and Best Lighting Design prizes in the 15th Hong Kong Drama Awards in 2005, it was still a school production. Most of the original cast have since graduated and Tang is delighted to see how they have matured. Although this time the show will be produced by LCSD and will reach a wider audience, he never considered using actors other than those from the original production. “Outside cast members may contribute something new to the group,” says the mentor to many of Hong Kong’s stage professionals. “But I wanted to keep the strength of the original cast.”

Phaedra will be performed on April 20 and 21 at 8pm and 3pm on 21 and 22 at HK Cultural Centre Studio Theatre. Tickets are $120 and $180 from URBTIX, 2734 9009.