http://www.mixmeetings.com AUGUST/SEPTEMBER 2018 MIX 39
How has the events industry changed since you
came here?
When I came in 1992 for the Avon event, I couldn’t find a
dedicated corporate event production company. I talked to the
tourism board, to the venues, but I couldn’t find anyone doing
full corporate production in the way I was used to.
Caribiner was the first international corporate event company in
Hong Kong. When Caribiner closed in the US, Jack Morton chose
to buy certain offices and bought Hong Kong so that’s how Jack
Morton came to be here.The biggest change in Hong Kong’s events landscape
is the Central Harbourfront. How did you get involved?
We used to do a lot of special events at Serious Staging like the
carnival, Symphony Under the Stars and Cirque de Soleil, which
all required large outdoor space. We also produced events that
required large customised tents for luxury brands like Louis
Vuitton, Chanel. But as the existing spaces became developed,
we were losing that work to other cities.
There was infield work being done at Happy Valley where
“Symphony Under the Stars” was annually held, so it was losing
a home. David Rule asked: “What about that piece of land by the
Star Ferry?” So that was first time this piece of land was used
for an event, based on our recommendation that it should be an
events space.Is there a temptation to let developers build on
the space?
My general feeling is that the Hong Kong government really
understands what a space like this is providing for the people of
Hong Kong, while also keeping the city on the tourist map and
in the international press. Also, the events here, like Formula
E, Clockenflap and Arts Central, are essential. They’re getting
reported worldwide and everyone is so impressed with the photos
of these events with the Hong Kong skyline as backdrop.
Every international group that asks to use this space tells us:
‘There’s nowhere like this in the world, it really is a gem’. But life is
not that simple. It is a fabulous space. If you could find other large
event spaces that would be great. If they can’t be in Central, they
should be somewhere else. lCeremony being held at the new section of the Convention
& Exhibition Centre. This was the technical transition but also
an emotional ceremony, so you want to feel the pride Britain
has handing over such a great city and China’s pride coming in
by being reunited. You have to include the emotions of it. The
important thing about the ceremony is that it’s an official, historical
event – but it had to have the right emotion behind it because if it’s
too cold then it doesn’t convey the right feeling. So we rehearse
it for a long time and worked on the details.
Did that naturally segue into the handover event
in Macau?
The liaison officer for Macau, Joao Manuel Costa Antunes,
contacted the HK government and they advised him to give me
a call.
I had left Caribiner at the time as it had bought a few local
companies so the team quickly grew from 10 people to 65. I’m not
the type of person to run a production company with 65 people,
so I went out on my own and then the call came in from Macau.
Instead of being an outsider I thought it would be easier for
me to be part of the Macau team so I could guide the process
from their perspective as opposed to a production company’s
perspective. So I joined as part of the government team working
with Mr Antunes and Bruno Simoes.
How different were the challenges?
It was in December, so could be a little cold and rainy. That’s why
they held the ceremony indoors and didn’t take the chance on
weather. The challenges were different because I don’t speak
Portuguese – the English of the officials was brilliant, though there
were times when I felt lost.
The nicest moment was when the doors of the purpose-built
handover building opened for the first rehearsal. The Chinese
military came in marching perfectly – and it was nearly all the same
guys – with the PLA general who walked in and greeted me with
open arms: “Maureen!”
The whole rehearsal process was a lot easier as we had done
it all before. There was a longer lead-in time, as I started working
with the Macau government about 10 months before. They did
their research and wanted to put all their ducks in a row. It was
a smaller event due to fewer guests but production-wise just as
complicated as the Hong Kong handover.
After this I joined Serious Staging and had to get back quickly
for a New Year’s Eve 2000 event.
Maureen Earls is managing director of Central Venue Management, which operates
Central Harbour Event Space. She was speaking to Martin Donovan