Concord Theatricals is the world’s most significant theatrical company, comprising the catalogs of R&H Theatricals, Tams-Witmark, Samuel French, The Andrew Lloyd Webber Collection, Dramatists Play Service and Playscripts, plus over 100 new signings each year. Our unparalleled roster includes the work of Irving Berlin, Agatha Christie, George & Ira Gershwin, James Graham, Katori Hall, Marvin Hamlisch, Lorraine Hansberry, Kander & Ebb, Marlow & Moss, Lin-Manuel Miranda, Arthur Miller, Dominique Morisseau, Cole Porter, Rodgers & Hammerstein, Thornton Wilder, Tennessee Williams, August Wilson and Harry Potter Theatrical Productions.

Richard Rodgers' contribution to the musical theatre of his day was extraordinary, and his influence on the musical theatre of today and tomorrow is legendary. His career spanned more than six decades, his hits ranging from the silver screens of Hollywood to the bright lights of Broadway, London and beyond. He was the recipient of countless awards, including Pulitzers, Tonys, Oscars, Grammys and Emmys. He wrote more than 900 published songs and 40 Broadway musicals.

Richard Rodgers (1902–1979) and Lorenz Hart (1895–1943) wrote their first shows together when both were still students attending Columbia University. Their breakthrough came with the score for a 1925 charity show, The Garrick Gaieties, which introduced the classic valentine to their hometown, “Manhattan.”

Over the next five years they wrote 15 musical comedies for Broadway and London’s West End before relocating to Hollywood in 1930, where they contributed songs and wrote the scores for several movie musicals, most notably Love Me Tonight, starring Maurice Chevalier.

In 1935 they returned to New York to write the score for Billy Rose’s circus musical Jumbo, launching a golden era that included On Your Toes, Babes In Arms, I’d Rather Be Right, I Married An Angel, The Boys From Syracuse, Too Many Girls, Higher And Higher, Pal Joey and By Jupiter. In 1943 the partnership disbanded temporarily when Rodgers collaborated with Oscar Hammerstein II on Oklahoma!, but it resumed with a revision of their 1927 hit A Connecticut Yankee, which opened on November 17, 1943 – less than a week before Lorenz Hart’s death.

For the next two decades Richard Rodgers collaborated exclusively with Oscar Hammerstein II on such musicals as Carousel, Allegro, South Pacific, The King And I, Pipe Dream and The Sound of Music. Collectively, their musicals have garnered dozens of awards, including Pulitzer Prizes, Tonys, Oscars, Emmys, Grammys, and Drama Desk, Drama Critics’ Circle, Outer Critics’ Circle, Laurence Olivier, and Evening Standard Awards.

After Hammerstein’s death in 1960, Rodgers continued to write for the musical stage, including No Strings, and collaborations with Martin Charnin, Stephen Sondheim and Sheldon Harnick. His fortieth, and final, Broadway musical, I Remember Mama, opened on Broadway less than eight months before his death on December 30, 1979.

The Richard Rodgers Theatre on Broadway was renamed in his honor, and Rodgers and Hart were each commemorated on a U.S. postage stamp at the end of the last century.

Oscar Hammerstein II was born on July 12, 1895 in New York City. His father, William, was a theatre manager and for many years director of Hammerstein's Victoria, the most popular vaudeville theatre of its day. His uncle, Arthur Hammerstein, was a successful Broadway producer and his grandfather, Oscar Hammerstein, a famous opera impresario. Hammerstein started writing lyrics for the Columbia University Varsity shows while studying law. His earliest works included musical comedies written with a Columbia undergraduate seven years his junior named Richard Rodgers. (The 1920 varsity show, Fly With Me, was composed by Rodgers with lyrics by both Hammerstein and a fellow classmate of his named Lorenz Hart.) Withdrawing from Columbia Law School after his second year to pursue a career in theatre, Hammerstein took a job with his uncle as an assistant stage manager.

In 1919 Hammerstein's first play, The Light, was produced by his Uncle Arthur; it lasted four performances. Undaunted, he continued to write both lyrics and librettos, principally with Otto Harbach as his collaborating author. His first success, with Harbach, Vincent Youmans and Herbert Stothart, was Wildflower in 1923. Hammerstein found his niche with some of the greatest composers of his day, breathing new life into the moribund artform of operetta with such classics as Rose-Marie (music by Rudolf Friml), The Desert Song (Sigmund Romberg), The New Moon (Romberg), and Song of the Flame (George Gershwin). With Jerome Kern, Hammerstein wrote eight musicals, including Sweet Adeline, Music in the Air and their masterwork, Show Boat. His last musical before embarking on an exclusive partnership with Richard Rodgers was Carmen Jones, the highly-acclaimed 1943 all-black revision of Georges Bizet's tragic opera Carmen.

During the years that Hammerstein was redefining the terms of operetta, Richard Rodgers and Lorenz Hart were challenging the accepted norms of musical comedy with shows that set new standards for wit, sophistication and innovation. The Rodgers & Hammerstein partnership began with Oklahoma! (1943). Like Hammerstein's Show Boat and Rodgers & Hart's Pal Joey, the first Rodgers & Hammerstein musical was a groundbreaking milestone, blending musical comedy and operetta into a whole new genre – the musical play. Oklahoma! was also the start of the most successful partnership in Broadway history and was followed by Carousel, Allegro, South Pacific, The King and I, Me and Juliet, Pipe Dream, Flower Drum Song and The Sound of Music. Rodgers & Hammerstein wrote one musical specifically for the big screen – State Fair – and one for television – Cinderella. Collectively, their musicals have garnered dozens of awards including: Pulitzer Prizes; Tonys, Oscars, Emmys, and Grammys; and Drama Desk, Drama Critics’ Circle, Outer Critics’ Circle, Laurence Olivier, and Evening Standard Awards.

As producers, Rodgers & Hammerstein presented plays, musicals and revivals, including John van Druten's I Remember Mama, Anita Loos' Happy Birthday, Irving Berlin's blockbuster Annie Get Your Gun, the national tour of Show Boat (1947–49) and six of their own stage musicals (from the Pulitzer-winning South Pacific in 1949 to the Tony-winning The Sound of Music ten years later). They also produced the motion picture version of Oklahoma! and founded their own music publishing firm, Williamson Music (basing the name on the fact that both of their fathers were named William).

Oscar Hammerstein II was a member of the board of directors of many professional organizations, including the Dramatists Guild and the Screen Writers' Guild. He received many personal honors and awards including five honorary degrees, two Pulitzer Prizes, two Academy Awards and five Tony Awards. His last musical was The Sound of Music, written with Richard Rodgers in 1959; his last song was “Edelweiss,” written for that musical during its Boston tryout. Oscar Hammerstein II died at his farm in Doylestown, Pennsylvania, on the morning of August 23, 1960.

In 1995 Hammerstein's centennial was celebrated worldwide with commemorative recordings, books, concerts and an award-winning PBS special, Some Enchanted Evening. The ultimate tribute came the following season, when Oscar Hammerstein II had three musicals playing on Broadway simultaneously: Show Boat (1995 Tony Award winner, Best Musical Revival); The King and I (1996 Tony Award winner, Best Musical Revival); and State Fair (1996 Tony Award nominee for Best Score). “The Careful Dreamer,” a Time Magazine cover story on Oscar Hammerstein II, was published on October 20, 1947. A biography, Getting to Know Him by Hugh Fordin, was first published by Random House in 1977. A revised edition of Hammerstein's Lyrics, edited by his son William Hammerstein and containing an introductory essay by the lyricist, plus a preface by his protégé Stephen Sondheim, was published by Hal Leonard Publishing in 1985. The Complete Lyrics of Oscar Hammerstein II was published by Alfred A. Knopf in 2008.

Ferenc Molnar (1878-1952), Hungarian playwright and novelist, was born in Budapest. Several of his plays were presented on the New York City stage, and all were successes, including The Guardsman, Lilliom, The Swan, The Glass Slipper and The Play's the Thing. In 1928, English translations of his twenty-five plays were published. Rodgers & Hammerstein used Molnar's Lilliom as the basis for the musical Carousel ; The Guardsman was adapted into the musical Enter The Guardsman by Marion Adler, Craig Bohmler, and Scott Wentworth. Molnar's plays are characterized by graceful, romantic situations and amusing dialogue.

Benjamin Glazer (1888 - 1956) won two Oscars for his screenplays Seventh Heaven and Arise My Love. One of the founders of the Academy of Motion Picture Arts and Sciences and a lifetime member, Glazer was once a producer of early Bing Crosby musicals at Paramount Studios including We're Not Dressing, which he also wrote.

He wrote adaptions for the theatre of Ferenc Molnar's Liliom, which Rodgers and Hammerstein used as the basis for their musical Carousel. He collaborated with Ernest Hemingway on Fifth Column for Broadway. Among his other adaptations are Great Divide, Tolable David, Mata Hari and A Farewell To Arms.

Associate Producer at United Artists and Warner Brothers, Glazer also headed production at Pathe in 1928. He produced such films as Love in Bloom, Paris in the Spring, Animal Kingdom and Tragic Symphony.

Although Agnes de Mille (1905-1993) seemed destined to perform on Broadway, since her paternal grandfather, father, and uncle, Cecil B. de Mille, were all successful writers and actors involved in the theater, she avoided the easy path to Great White Way. Instead, she struggled in obscurity and poverty, courageously pursuing a career as a dancer and choreographer. When her amazing talent was finally recognized, and she made her way to the stage, she transformed the world of musical comedy forever.

De Mille was born in Harlem in 1905, but moved with her family to Hollywood when she was still a young girl. Always very dramatic, de Mille and her sister gave piano recitals and staged drama productions for their friends, but her parents refused to let her take dancing lessons. It was widely believed in those days that dancers were slightly disreputable. She did have the opportunity to see a dance performance, however, by Anna Pavlova. The performance inspired in young Agnes the desire to become a famous dancer.

When de Mille's sister's arches in her feet fell, her doctor recommended that she take dancing lessons. Agnes convinced her parents to allow her to do the same, but recalled later that she was considered "a perfectly rotten dancer."

A professor de Mille had at UCLA told her that she was too fat to become a dancer, but commended her on her acting ability. This did not dissuade de Mille in the least. Upon graduating from UCLA, she moved to New York, where she struggled to make a living as a dancer. Her first real job came when she was hired as a dancer-choreographer in Christopher Morley's revival of a 19th-century melodrama, The Black Crook, in Hoboken.

In 1932, de Mille moved to London, where she received extensive dance training at Madame Marie Rambert's Ballet Club. Here, she studied with and was influenced by fledgling choreographers, including Fredrick Ashton and Anthony Tudor, who would join her later in her efforts to revolutionize the ballet and dance worlds. Her experience at the Ballet Club marked one of the most significant phases of her training.

Throughout the 1930s, de Mille returned to the United States to take odd jobs. She danced in her uncle's staging of Cleopatra in 1934, and she choreographed for the Leslie Howard/Norma Shearer film version of Romeo and Juliet in 1936. Most of her time, however, was spent battling poverty in London while trying to become an original choreographer.

De Mille's career made a change for the better in the late 1930s and 1940s. In 1939, she was invited to join the American Ballet Theatre's opening season. Here, she created her first ballet, Black Ritual, in 1940. This ballet became the first ever to use black dancers. In 1942, the Ballet Russe de Monte Carlo, a company that came to the United States because of World War II, invited de Mille to choreograph a ballet for their repertory. She created Rodeo, a highly energetic work with a uniquely American spirit that captured its opening night audience so much that it received 22 curtain calls. One critic called it "refreshing and as American as Mark Twain." Also in 1942, de Mille choreographed her ballet, Three Virgins and a Devil, for the American Ballet Theater. The following year, she joined Rodgers and Hammerstein to create the triumphant Oklahoma!, a musical that revolutionized the art form by integrating its choreographic numbers with the plot in a way that had not been done before.

De Mille went on to choreograph some of the biggest Broadway hits in the 1940s and 1950s, such as One Touch Of Venus in 1943, Carousel in 1945, Brigadoon in 1947, Gentlemen Prefer Blondes in 1949, and Paint Your Wagon in 1951. She also furthered her innovative style with Tally-Ho in 1944 and Fall River Legend, a haunting version of the Lizzie Borden axe murder case, in 1948.

Throughout the 1950s, de Mille embarked on a variety of endeavors. In 1952, she published the first volume of her autobiography, Dance to the Piper. The following year, she founded the Agnes de Mille Theater and toured with them in 126 cities from 1953 through 1954. In 1955, she choreographed the numbers for a film version of Oklahoma!. She also made her way to the world of television when she narrated and directed two hour-long programs on the dance for the Omnibus series the very next year. De Mille published the second volume of her autobiography, And Promenade Home, and choreographed the musical Goldilocks, both in 1958. In 1959, she supplied the dances for the musical Juno.

During the 1960s, de Mille continued to produce many memorable ballets, including The Bitter Weird (1962), The Wind In The Mountains (1965), and The Golden Age (1967). She also found time to publish several more dance books, such as To a Young Dancer (1962), The Book of the Dance (1963), and Lizzie Borden Dance of Death (1968).

From 1973 to 1974, the tireless de Mille founded and toured with the Agnes de Mille Heritage Dance Theater. She suffered a debilitating stroke in 1975, but fought her way back to health in time to receive the Handel Medallion, New York's highest award for achievement in the arts, in 1976.

In 1979, she helped in staging a revival of Oklahoma!, and she engrossed television viewers with her lecture on the history of American dance in Conversations About the Dance, a PBS program which included dancing by the Joffrey Ballet. She also published her tenth book, American Dances, an intriguing and vivid account of how the different varieties of dance have grown and developed in the United States. De Mille continued to be very actively involved with artistic endeavors up until her death in 1993.

Mandy has spent over 40 years in Hong Kong, teaching Jazz and Tap Dance and sharing her love of Musical Theatre. For 20 years, she was a full-time Lecturer in Musical Theatre Dance at the Hong Kong Academy for Performing Arts, where she choreographed numerous musicals and dance productions. Over the years, she has also worked with various local and international companies—both amateur and professional—choreographing and directing musicals.

Carousel will be her seventh musical for HKUST, following previous productions including 9 to 5, A Funny Thing Happened on the Way to the Forum, Singin’ in the Rain, Wonderful Town, The Music Man, and The 25th Annual Putnam County Spelling Bee.

Isaac DROSCHA, vocalist and conductor, holds a Doctorate in Vocal Performance from the University of Michigan and is currently a faculty member in the Division of Humanities at The Hong Kong University of Science and Technology.  

He has performed a number of roles with various companies in the United States, including the Des Moines Metro Opera, Michigan Opera Theatre, Opera New Jersey, and Arbor Opera Theater.  His performances have received numerous positive reviews, and some of his notable roles performed include roles in Il barbiere di Siviglia, Le Nozze di Figaro, The Rake’s Progress, Madama Butterfly, L’Elisir d’Amore, Die Zauberflöte, Die Fledermaus, Falstaff, and Ariadne auf Naxos.  He was also recently featured in two films produced by RTHK based on the operas La Serva Padrona and Rita.  He is a close partner of Musica Viva HK.  

He is a prolific concert performer of oratorio and art song and frequently lends his vocal talents to radio and television at RTHK.  

As a conductor, he has conducted choirs, opera, and musical theatrer performances in Hong Kong and the US.  

Jamie is a versatile performer, choreographer and dance teacher with over 20 years of experience. She graduated from the School of Dance, Hong Kong Academy for Performing Arts (“HKAPA”), in 1996, majoring in Musical Theatre. She teaches Jazz, Tap and Musical Theatre at HKAPA as a part-time instructor on various programmes, including GYDP, APL and EXCEL BTEC one year Musical Theatre programme. With an extraordinary rhythmic sense, she has performed in various theatrical and commercial shows, including the 15th Asian Games (opening ceremony) in Doha in 2006, and Brenda Bufalino’s works during the New York Tap Festival at the Duke Theatre on 42nd Street in 2003 and 2004. She is also an active drummer, performing with Island Sun Drum, led by Dr. LUNG Heung Wing. 

Isaac WONG graduated with First Class Honors in stage design from The Hong Kong Academy for Performing Arts and is currently working as a freelance stage designer in Hong Kong.  Isaac has an impressive portfolio of recent set design credits, encompassing a diverse range of productions.  Some notable works include set designs for plays such as Appointment with Death, Go Back For Murder, Nunsensations!, and 8 Femmes for Theatre Space.  He has also contributed to productions by the Hong Kong Repertory Theatre, including The Finale of Mr. AD, In Times of Turmoil, Wolf in the House, and Last Supper.  Isaac's versatility extends to collaborations with the Hong Kong Sinfonietta, BHT Theatre, Yat Po Singers, Musica Viva, Boom Theatre, The Theatre Wonderland, and many more.  

Graduated in the Bachelor of Arts in Hong Kong Academy for Performing Arts, majoring in Theatre Lighting Design.  

Her recent productions in lighting design include Fiddler on the Roof, West Side Story presented by City University; Heather, Guys and Dolls, Titanic the Musical, Catch Me If You Can the Musical, My Fair Lady, Chitty Chitty Bang Bang, Into The Woods, Legally Blonde, Footloose & Hairspray presented by Face Production; Elf The Musical Jr., King Arthur, Magic Flute, Marriage of Figaro presented by Opera Hong Kong and Wonderful Town, 9 to 5 the musical, Singin’ in The Rain presented by HKUST.  

HA Yan-pui graduated from the Theatre, Sound and Music Recording Department at The Hong Kong Academy of Performing Arts.  She works as sound designer and engineer for many local and overseas productions and as sound consultant for some musical festivals.  Her recent design works include West Kowloon x Hong Kong Repertory Theatre The Impossible Trial (Best Sound Design, 31st Hong Kong Drama Awards); Hong Kong Chinese Orchestra’s The Palace of Eternal Life on a Moonlit Night; Musical Yat-sen for the Hong Kong Arts Festival; The Woman in Kenzo for Chung Ying Theatre Company (Best Sound Design, 30th Hong Kong Drama Award; The Originals (Reimagined); Sing Out (Best Sound Design, 27th Hong Kong Drama Awards); Our Immortal Cantata (re-run) for Yat Po Singers (Best Sound Design, 26th Hong Kong Drama Awards), and many more.  

HA Yan-pui graduated from the Theatre, Sound and Music Recording Department at The Hong Kong Academy of Performing Arts. She works as sound designer and engineer for many local and overseas productions and as sound consultant for some musical festivals. Her recent design works include West Kowloon x Hong Kong Repertory Theatre The Impossible Trial (Best Sound Design, 31st Hong Kong Drama Awards); Hong Kong Chinese Orchestra’s The Palace of Eternal Life on a Moonlit Night; Musical Yat-sen for the Hong Kong Arts Festival; The Woman in Kenzo for Chung Ying Theatre Company (Best Sound Design, 30th Hong Kong Drama Award; The Originals (Reimagined); Sing Out (Best Sound Design, 27th Hong Kong Drama Awards); Our Immortal Cantata (re-run) for Yat Po Singers (Best Sound Design, 26th Hong Kong Drama Awards), and many more.

Graduating from the Hong Kong Academy for Performing Arts with a major in Theatre Design, Eniarom LO is a freelance wardrobe supervisor and dresser.  Her experience in various productions has honed her skills in costume management and design, enabling her to contribute effectively to the creative process.  Eniarom is passionate about bringing characters to life through thoughtful wardrobe choices and collaboration with directors and performers.  

Freelancer / Video Operator / VJ / Animator 

Hong Kong stage worker, has participated in many different stage performance and concert productions. He has participated in troupes including Hong Kong Ballet, Hong Kong Chinese Orchestra, Hong Kong Repertory Theatre, Zuni Icosahedron, Shakespeare4All, etc., and concerts include Joey Yung, Terence Lam, Endy Chow, Yoyo Sham, Panther Chan, Ronald Cheng, MC Cheung, Terence Lam, etc. 

Theatre freelancer

She graduated from the Hong Kong Academy for Performing Arts with a Bachelor of Fine Arts (Honours) Degree in Theatre and Entertainment Arts (majoring in Stage and Event Management) and the Chinese University of Hong Kong with a Master of Arts (majoring in Cultural Management).

Recent productions include: ‘Sound of Film’, ‘Hahahahamlet’, Dimension Plus ‘Dimension Flâneur, Project Playaround ‘Remediation Ensemble’, Hong Kong International Shakespeare Festival ‘Lady Macbeth’, City Chamber Orchestra of Hong Kong ‘Shark Symphony’, Face Productions ‘Be More Chill’, ‘Wizard of Oz’.

Vanessa’s journey in theatre began in 2001 when she worked on a production of Hello, Dolly! as a Production Assistant.  Since then, she has worked in many different capacities in production and marketing for various theatre groups in Hong Kong.  Credits include La Cage aux Folles, Glengarry Glen Ross, Fiddler on the Roof, South Pacific, The Dresser, Peter Pan, My Fair Lady, The Full Monty and The Wizard of Oz.  Vanessa was the Associate Producer for ABA Productions, overseeing and executing a wide range of roles and responsibilities for their international touring shows.  She is now working independently as a Production Stage Manager.  

Chuck-jee CHAU is an active collaborative pianist and mallet percussionist.  He is keen in theatrical music, being the band leader in multiple shows.  For HKUST Summer Musical, he has been a coach, rehearsal pianist or stage percussionist, in productions from Guys and Dolls (2012) to Carousel (2026).  He also played in live bands in local musicals, including The Woman in Kenzo (2021) of Chung Ying Theatre.  

After his studies in CUHK majoring in Computer Engineering and minoring in Music and German, he taught and conducted research on computer music at HKUST.  He was engaged in student art activities, and took up the role of the Learning Community Fellow for UG Hall VII Arts a-LIVE.  He is now a lecturer at CUHK, working on computer music, music information retrieval, etc.  His research works have been published in the International Computer Music Conference (ICMC) and the Journal of Audio Engineering Society (JAES).

Roderick YU is a pianist who takes up different roles in orchestral, opera, chamber music and vocal piano accompanying.  He was invited to perform with Hong Kong Chamber Orchestra, Collegium Musicum Hong Kong, Guildhall New Music Ensemble, Hong Kong New Music Ensemble and HKBDA Wind Orchestra.  He has also performed in international music festivals in the Netherlands, United Kingdom, Canada, Austria and Hong Kong.  His performance of Brett DEAN’s Wolf-Lieder (2006) has been broadcasted in the BBC Radio 3 in London.  He is currently Young Artist-in-Resident of Shantou Xiangyuan Piano Museum and the pianist of the TimeCrafters.  

Roderick completed his Master’s Degree with Distinction with the support of Leverhulme Trust at the Guildhall School of Music and Drama.  He has received the Scotiabank scholarship to be the Art of Song Fellow during the 2013 Toronto Summer Music Festival, where he received intensive coaching from Elly AMELING, Julius DRAKE and Michael MCMAHON.  Roderick was trained as a lieder coach by Konrad JARNOT and Christoph BERNER in Universität Mozarteum Salzburg.  

Ian started his music education in classical singing as a tenor since secondary school, and remained passionate since.  He is a current staff member in the Center for Engineering Education Innovation (E2I) in HKUST.  Prior to this production, he has participated in HKUST Musical productions 9 to 5 (ensemble), Singin’ in the Rain (as vocal teacher), and Wonderful Town (as Bob Baker), and The Music Man (as Harold Hill).  Ian obtained his Bachelor’s Degree in Mechanical Engineering in 2020 and Master’s Degree in Aeronautical Engineering in 2024.  He has worked as a freelance translator since university and translated the surtitles of Wonderful Town and The Music Man and The 25th Annual Putnam County Spelling Bee.  He also served as the Production Manager in Vocatelier Soirée in 2022.