 primary school, housing estate, MTR station, estate office. It's the bugs which are going to win this war. Great big handfuls of them. Pork chops, potatoes, carrots, peas, salt, pepper and gravy. Thick bowls of gravy. I don't want to ever even see rice again. Every time you take a step on it, it starts to hurt until finally, it's just every time, it's like someone's sticking electrodes directly into your area. We're putting bets on which one of us is going to die first. Yes, Shamshrae Po's mecca for those seeking a gripping tail, some light relief and a happy ending. I'm just a little Hawaiian, the homesick island boy. Si, si, si, si, si. So we're down there in the hold, it's almost completely pitch black, can't see a bloody thing and we're giving it some with buckets, trying to get this water in, this shark. He must have got a taste in me bloody because he comes swimming over and bugger me for not, he takes a bite, clean out my leg, just like that. It's a prisoner's duty to escape. I have no right to still be walking, I should lie down and give up. It's over, Japan is surrendering. What was all this for? The old ways can't go on. We've been through too much together. It's time to rebuild and to do it better. Good evening again, thank you for staying. My name is Rosella Ferrari. I teach here at SOAS in the department of East Asian Languages and Cultures. And this is Bill Acheson, who is a British performance artist who is now based in China. And Mr Mochiyu, who is the dramaturg and producer of the show. Before 1997, we had already been doing plays, you know, which are very anti-colonialist. We came from the political position of rejecting capitalism, rejecting colonialism, but at the same time, rejecting the Chinese totalitarian bureaucracy. So we have been doing quite a number of plays. The two scripts were developed at the same time. But in these parties outside the camp, not inside, so he first performs life outside and then you perform life inside? That's right, yeah. There's one or two moments where we kind of cross over the one or two connections, but not so many. It's essentially focusing on these two rather different but complementary experiences. It's all coming, okay? And Hong Kong is getting more and more like China. I'm very interested to know how your play has been received in Hong Kong. Many of the audience, it's an occasion that they found out more about the history of Hong Kong then. And then they felt that they did not know terribly much about that part of history. Now, whether they pick up the point, you know, as I said, you know, that what we or some of us wanted to say in this, you know, is that, okay, it won't be long, yeah? This is supposed to be encouraging. Don't get depressed. Although, you know, we seemingly did not get anything in 2014. Now, some people pick it up, some did not. Interestingly, performed this in mainland in a theatre festival in Shandong. And one of the things I was not expecting and was not one of the things I kind of deliberately put into the show was that I had quite a number of Christians after the show thanking me for having bits of the Bible in the show. And I think the reason may be, because faith was, I'm not a practicing Christian myself, but I know at that point in time that was an important, more important force perhaps than now. And I can only guess that in mainland it's because Christians are not represented, not represented in the news, not represented in fictions. They're kind of an invisible, a significant number of people, but invisible.