Myth of Archaeology Bird: The Vanished Wings On & On Theatre Workshop HK Cultural Centre Studio Theatre Reviewed: July 1 On & On Theatre Workshop's Archaeology Bird is a time-specific series that was first staged 10 years ago to explore the city's imminent change of identity in the run-up to the handover. The Vanished Wings, directed by On & On's artistic director Chan Ping-chiu and Alex Cheung Ngai-sang, marks the first decade of the handover and takes an updated look at what it means to be a Hongkonger. Watching the show on July 1 held special meaning. Even the pre-show announcement in Putonghua sounded significant, showing how we have grown used to the official dialect being spoken at public venues. The Vanished Wings is a big production for the Cattle Depot-based company, with a cast of 10, including Emily Cheng Yee-chai, Evelyn Choi Yu-wing, E-Run (Rieko Yamasaki) from Japan and mainland actor He Fan, with Paul Poon (artistic director of Prospects Theatre) and veteran arts administrator Kwong Wai-lap putting in guest appearances. But most who showed up for the three-hour, four-act performance were more interested in what Chan and Cheung have to say about today's Hong Kong using the allegory of an archaeological find: the dichotomy of the present and the past. All the major events of the past decade got a perfunctory mention: the appointment of former chief executive Tung Chee-hwa (and how he messed up), Sars and the death of Leslie Cheung. What do these events - and how we coped with them - say about this city's resilience? And do they throw any light on our new-found identity? If so, what is it? These questions of identity seem dated and the exercise too insular. But thanks to Cheung and the superb multi-cultural cast, The Vanished Wings is an entertaining and intelligent piece, which says a lot more about Chan's less intense approach to theatre than how Hong Kong has evolved within the broader global context since 1997.