Cover The “human chandelier” scene in “House of Dancing Water” (Photo: courtesy of City of Dreams, Macau)
The “human chandelier” scene in “House of Dancing Water” (Photo: courtesy of City of Dreams, Macau)
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Giuliano Peparini, director of the reimagined ‘House of Dancing Water’, reveals how ‘In the Mood for Love’ inspired his artistic vision—and what it takes to direct one of Asia’s most spectacular stage productions
“I’m afraid to swim in the sea,” admits Giuliano Peparini, director of the newly relaunched House of Dancing Water—the headline aquatic show at City of Dreams, Macau. It may seem improbable that someone with a fear of water could direct a production involving 17 million litres of it.
While the ringmaster doesn’t have to enter the pool himself, he has to know the physical and emotional potential of water enough to craft spellbinding visuals and death-defying stunts for an audience of nearly 2,000 each time. The Rome-born director, who has lived between his home city and Macau since 2007, credits Hong Kong filmmaker Wong Kar Wai with opening his creative eyes to the poetic power of water.
“You remember the scene in In the Mood for Love (2000), where the two characters, played by Maggie Cheung and Tony Leung, are standing in the rain? That, for me, was the moment I understood the power of water,” says Peparini. “Even something as simple as rain can transform light, movement and colour into something completely magical.”
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Above The “human chandelier” scene in “House of Dancing Water” (Photo: courtesy of City of Dreams, Macau)
The “human chandelier” scene in “House of Dancing Water” (Photo: courtesy of City of Dreams, Macau)
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What he has created on stage is far from simple. At the show’s preview in May, audiences witnessed high divers leaping from a 25-metre platform, acrobats launching off a Russian swing mid-air, ballerinas dancing through water jets, and aerial performers dangling from a human chandelier. Originally launched in September 2010, the show was celebrated for its heart-stopping stunts, cinematic storytelling and immersive water-based theatre until it closed in 2020 due to the pandemic.
Peparini, who co-directed the original production, was invited to helm its revival—making this version even more ambitious. Familiar acts have been scaled up; new scenes incorporate laser light shows and video projections to heighten the spectacle. This edition also introduces new characters, deeper emotional arcs and fresh choreography. “I wanted to show more technology, more futuristic elements, more power,” he says. “The DNA is there, but it’s a brand new show. It was a big work of recreation.”
Above “House of Dancing Water” (Photo: courtesy of City of Dreams, Macau)
“House of Dancing Water” (Photo: courtesy of City of Dreams, Macau)
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The production’s technical complexity is staggering. Eleven stage lifts, each capable of around 100 motorised movements, combine with a grid system that adjusts at variable speeds. The visual landscape is shaped by 12 laser beams and 16 video projectors, which create a wraparound effect across the circular theatre. A centrepiece addition is the giant aquarium that emerges at the show’s start, featuring the lead character Princess Aani in a breath-holding underwater sequence.
Peparini notes the production’s environmental considerations. A built-in filtration system allows the theatre to recycle the vast volumes of water used each night.
Behind the scenes, safety is paramount. “What we’re showing every night is extremely dangerous,” he says. Performers battle slippery surfaces, high-speed motorbike manoeuvres and unpredictable aquatic elements. “It’s never exactly the same show. Sometimes the water pushes you up when you’re supposed to disappear beneath the surface—and there’s nothing you can do.”
Above “House of Dancing Water” (Photo: courtesy of City of Dreams, Macau)
“House of Dancing Water” (Photo: courtesy of City of Dreams, Macau)
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Safety protocols are rigorous. Every performer undergoes intensive induction and testing. “For high dives, we use a camera to confirm clarity,” Peparini explains. “Scuba divers communicate with stage managers to confirm that everything is clear. All this happens live, during the show, synchronised with the music. What happens backstage is, in a way, a performance in itself.”
Peparini’s artistic journey began early. He started theatre training at age 12 and moved to New York at 16 to study with the American Ballet Theatre. “The theatre was not enough for me—I wanted to explore how the body could express itself without words,” he says. A 1995 tour through Beijing and Guangzhou left a lasting impression, fuelling a lifelong fascination with Chinese art and storytelling.
Above “House of Dancing Water” (Photo: courtesy of City of Dreams, Macau)
“House of Dancing Water” (Photo: courtesy of City of Dreams, Macau)
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“I’m very lucky to work in a country where I’m constantly inspired,” he reflects. “When we create art somewhere, we shouldn’t always bring our knowledge—we should absorb theirs.”
In the revival of House of Dancing Water, Peparini drew inspiration from The Legend of the White Snake, a beloved Chinese folktale in which a female snake spirit fights for love against all odds. “Your legend doesn’t portray women as damsels. They are strong characters,” he says. “That inspired me to give Princess Aani more depth.”
Above From left: Jean and Princess Aani in “House of Dancing Water” (Photo: courtesy of City of Dreams, Macau)
From left: Jean and Princess Aani in “House of Dancing Water” (Photo: courtesy of City of Dreams, Macau)
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Looking forward, Peparini has no intention of slowing down. He is exploring the possibility of adapting House of Dancing Water for the screen. Beyond Macau, he recently launched Peparini Studios to develop original shows globally. This month, he debuts a classical production based on The Iliad at the ancient Greek theatre of Syracuse. Back in Rome, he is overseeing the Dolce & Gabbana experience—an exhibition celebrating the iconic Italian fashion house, running through August.
He sees his artistic journey as a path of perpetual motion, saying that every time he opens a door, he doesn’t hesitate to step into the next one to explore all the opportunities the arts world has given him. But during each of these projects, he would always spend time to “savour” the process: “As soon as I start creating or writing a story on a piece of paper, the world around me stops for a moment.”
Zabrina is the Senior Editor, Arts and Culture of Tatler Hong Kong. She specialises in performing arts, visual art and film. Her wanderlust was first fuelled by the Mighty Rovers Antarctica Expedition 2010. Over the years, she has interviewed A-list artists and filmmakers, including Oscar winners Chlóe Zhao and Tim Yip, Golden Horse winner Sylvia Chang, In the Mood for Love cinematographer Christopher Doyle, Pachinko author Min Jin Lee, and Coachella’s first Chinese solo singer Jackson Wang. She won gold at the WAN-IFRA Asian Media Awards for her 2021 feature on the waves of hate crimes targeting Asian Americans.
