Jim Chim Sui-man, co-artistic director of Theatre Ensemble, has found a way round the problem of having short runs for his Man of La Tiger. Since its premiere in March, this one-man show has had a record 67 performances in nine months. Chim's stint in local movies has boosted his popularity, which helps attract newcomers to the theatre. It is a good example for other artists and groups to learn from, especially regarding marketing and programme planning. I would not hesitate to pick this show as the Phenomenon of the Year.

The two productions that impressed me most and irritated me most this year came from the Hong Kong Arts Festival.

French Kiss, with playwright Cancer Chong's well-crafted script and two competent actors - Lee Chun-chow and Faye Leong - asks some profound questions about the human psyche and relationships.

We seldom have an original script with such serious intent that can hold the attention of the audience till the end.

In contrast, Amber, by Beijing director Meng Jinghui and the China National Theatre, was an outmoded imitation of foreign postmodern theatre.

All the postmodern cliches, such as projections and pastiche, coupled with a phony script by Liao Yimei, threw me back at least 20 years in time. With next year's arts festival fast approaching, I hope to see more shows of the French Kiss rather than the Amber variety.

Wu Hoi-fai

VISUAL ART

This was an odd year for the visual arts. With the West Kowloon project as ambiguous as ever and the new Shekkipmei artists' village on the horizon, the visual arts has had a bumpy but interesting time. There were high points, like Para/Site's Power Plays, alongside little gems such as painter Terry Batt's work earlier this year at the John Batten Gallery. In addition, 2005 saw a diverse range of international artists and curators presenting some excellent seminars, lectures and workshops.

There were, of course, some less than stellar moments. Box at Langham Place and the Re:Wanchai project from last spring both had strong aspects, but generally weak artistic performance. Looking back, these exhibitions seemed particularly obsessed with process, and less with the final work shown - a continuing trend in the visual arts in the city. Optimistically, they also employed energetic, proactive approaches to internationalism and art in social spaces.

For example, Re:Wanchai, organised by the Artists in Residence Association, was an admirable effort at real cross-cultural exchange, embedded in a specific 'Hong Kong' neighbourhood. By bringing together dozen of artists from here and abroad, they defined a potentially vibrant context and precedent, regardless of what I may think of the final exhibition.

Another highlight was John Batten Gallery's Coming Near You. Though not an overwhelming visual success, it was one of the most powerful and socially engaged projects this year. Additionally, Collective Space at 1aspace in August was a fascinating exhibition on China's (semi) public spaces.

The biggest show in the region at the moment, the Guangzhou Triennial at the Guangdong Museum of Art, features two representatives from Hong Kong. And both Gutierrez + Portefaix (Map Office) and Leung Chi-wo presented excellent projects, with Map Office's large-scale installation a particular highlight.

Norman Ford

CLASSICAL MUSIC

This year marked many firsts for the Hong Kong classical music scene. The Berlin Philharmonic Orchestra's debut tops the list. The two immaculate concerts explained why the best seats cost $2,500.

The Hong Kong Philharmonic Orchestra flexed no less orchestral muscle under artistic director Edo de Waart in staging two Hong Kong premieres, Salome in January and Elektra in September. Instilled with discipline and verve, the orchestra displayed a top-notch ensembleship that both taxing works by Richard Strauss require. The international vocal lineup, with Susan Bullock singing the lead roles, was almost a guarantee of success.

The Hong Kong Sinfonietta's innovative performance of The Devil's Tale was a world premiere that adapted Stravinsky's rather unsettled music and story to a Putonghua script and an economical but vigorous choreography accompanied by a small but dynamic band of eight. The fusion of music-dance-narration was a welcome collaboration among local arts groups. They took risks on ticket sales. But it's the artistic impact that really paid off.

The year also saw the first Beethoven Symphony cycle in the city, performed on authentic instruments in one concert series as part of the Hong Kong Arts Festival. The Orchestra of the 18th Century under its founder and conductor Frans Bruggen performing all nine symphonies within four days proved too much for the 71-year-old Dutch conductor and his band. It was a low-voltage version of the otherwise dynamic Beethoven, justifying the mocking by some of the use of original instruments as 'vegetarian concerts'.

But the adaptation of the Yellow River Cantata to Chinese traditional instruments was far more successful. The Hong Kong Chinese Orchestra and a 400-strong chorus brought this most famous Chinese anti-war choral work to a new artistic height under the octogenarian Beijing conductor Yan Liangkun, who first conducted the work 65 years ago. It was a performance to remember.

Oliver Chou

DANCE

This was a respectable, but not a vintage, year for dance in Hong Kong. Well-received performances by visiting companies included those from the prestigious Bejart and Aterballeto companies at the Hong Kong Arts Festival, while the Latin Passion Festival was a curate's egg. But it did provide one high spot: Carlos Acosta's exuberant Tocororo: A Cuban Tale.

Another high point was Tadashi Suzuki's production of Dionysus, combining movement and theatre to stunning effect.

Locally, contemporary dance continued to flourish, with City Contemporary Dance Company maintaining its position as a role model for the modern dance scene in China, and numerous smaller groups and individuals creating a constant stream of new work.

The energy and resourcefulness of the modern dance community typify Hong Kong at its best.

Hong Kong Ballet, in its final year under Stephen Jefferies, scored strongly with a new production of Khachaturian's Spartacus, choreographed by one of the ballet's greatest interpreters, Irek Mukhamedov. This testosterone-driven work showcased the outstanding quality of the company's male dancers. The equal progress made by the women was highlighted by an excellent revival of Giselle.

In contrast, Hong Kong Dance Company gave the impression of having lost its way. The trend was a move towards a commercial style of choreography that does not fit the company's remit to do Chinese dance or its subsidised status. This is Hu Jialu's first season as artistic director, and it is hoped he will find a more productive direction.

Natasha Rogai