FRINGE director Benny Chia whimsically identified the theme of this year's festival as sexual perversity, but the moments to remember range from personal revelations and political imagery to wobbling stomachs. RTHK reviewer and director of Female Parts Lindsay McAlister went to almost everything. 'Nigel Charnock was the high point,' she said, 'both his one-man show Hell Bent and How To Live, by the Volcano Theatre, which he directed.' Estella Tong Mei-mei, of the British Council, is also still coming down from seeing Hell Bent. 'It is very organic, all the elements of the show are integral to it,' she said. 'In one part he is in the middle of a cabaret gag, and then he stops and says: 'I can't do this, I can't go on.' He shows really private moments from his own experience.' Art critic Lau Kin-wai was impressed with the installation by Wong Shun-kit in the exhibition Acculturation at City Hall. It included three 2.4-metre robots. 'I thought it was very simple and expressed his feelings as a Hong Kong person about what our political position is.' Generation X, by the Kwun Tong Theatre Company, was a hit with teacher Cheung Ping-kuen. 'My favourite was the first image, of the whole family trying to get in to use the bathroom in a huge rush. You could really see the power of the mother, who just stayed in the bathroom.' City University student Janice Ho Wing-yan liked Not So Loud's sitcom-style show, The MacLehose Trail, for one major reason: 'The tummy of the actress was the funniest part. She was a charming lady but it was big tummy. She was the focus of the play.' Sometimes the audience was as interesting as the show. Katherine Hall, of the Arts Development Council, was moved by Dino Mahoney's Yo-yo. 'I thought there was a nice heart-warming audience ... it is endearing to see middle-aged male couples coming out, so to speak.'