In recent years, the month of May has become synonymous with all things art in Hong Kong. There’s Art HK; the sales at Christie’s and Sotheby’s; Le French May; the Chai Wan Festival; as well as special exhibitions at art galleries around town. Art lovers, major collectors and those who simply want to get a slice of the art excitement all arrive in Hong Kong in the month of May.

To extend the excitement from May, I’ve taken this opportunity to interview a group of movers and shakers of the art world in Hong Kong. I like the original meaning of the term "movers and shakers", which Arthur O'Shaughnessy coined, referring to people who shake the foundations of conventional thinking with their imagination and vision. To begin with, I spoke with a long-time family friend and a true mover and shaker of Hong Kong’s art scene: Dr. Woo Wai-man.

Woo is the chairman of property developer Drowland Group, and the former chairman of the Po Leung Kuk; he is also actively involved in the arts. As vice chairman of the Hong Kong Repertory Theatre since 2007 and chairman since 2010, Woo shares with us what his roles at the Hong Kong Repertory Theatre entails and his views on the future of the art and cultural scene in Hong Kong.

A little bit about myself: I like painting, especially sketch, oil, and Chinese; it has been my favourite pastime since I was a child. When I completed my tenure as the chairman of Po Leung Kuk in 2002, instead of presenting gifts for the board members, I decided to give everyone a piece a painting by me. I also exercise every day. I play golf, swim and practice tai chi.

As chairman of the Hong Kong Repertory Theatre, I am not only tasked to produce diverse and creative plays for our audiences and to enrich the public’s cultural life, but I also play other important roles, including orchestrating educational activities. We have established a Drama Training Centre to create a theatre program for the public. Our educational groups have performed in schools and communities more than 1,200 times in front of more than 120,000 attendees last year. We are planning to develop a drama-training programme for all local kindergarten teachers as well as launch a professional certificate in stage performance program with the Open University of Hong Kong.

The next major step for the Hong Kong Repertory is ambitious, but not aggressive. I don't expect the Hong Kong Repertory to be world renowned. I would like for us to concentrate on the Greater China market. I hope that when Chinese tourists visit Hong Kong, they will include seeing a play with the Hong Kong Repertory Theatre on their to-do list.

I support the establishment of the Cultural Authority. To be successful, one has to specialise and concentrate. Having a Cultural Authority does just that. It demonstrates the importance of arts and culture in Hong Kong.

I enjoy listening to Cantonese oldies like Sam Hui. His lyrics are filled with vernacular words that are easy to understand and they reflect our contemporary society with morals.

The most recent book that I have read is Good Times Vintage (“我們的好時代──香港六、七十後自述”). It is a collection of essays on 21 people who grew up in the 60s and 70s and their collective memories on old Hong Kong.

Joanne also went up close and personal with Hong Kong principal violist Andrew Ling.