Zhangzhou City Xiangju Opera Troupe is here again, at Lor Koo Chye Sheng Hong Temple. Starting today, they'll be performing for 21 days, and their opening performance tonight is their famous "Butterfly Lovers". This show, adapted from traditional Taiwanese opera repertoire, Shanghai Yueju script and revised script by Xiangju master Shao Jianghai, has not been performed for ages, but back in the late 70s/ early 80s, this show was such a hit that the troupe once broke a record of over 300 continuous performances in a single venue.
Unfortunately, as my production for "Three Fat Virgins Unassembled" ends only tomorrow, I had to miss this show, and another show I like titled "Protecting the Treasured Baby". Hopefully these shows will be staged again during their re-runs towards the end of their performance tour!
For those who are into Xiangju would probably know that there's such a troupe called "Fang Yuan" from Zhangzhou. Among the non-government sponsored troupes, they're one the better ones. However, as their target audience is the general folk instead of the theatre-goers, their shows tend to be rather lengthy. There's a clip of the troupe's "The Birthday Banquet", which was originally adapted from the Yueju version by Xiamen Municipality Opera Troupe in the early 80s. As expected, "Fang Yuan" added quite a bit of lines and songs to the original script as well.
For those who find the actress acting the role of Madam Yang familiar, she was the one who acted as Guo Ai in "The Arrogant Princess". I think xiaosheng-turn-laodan actresses tend to have the kind of grand presence that usual laodan lack off. What do you think?
For Chinese opera watchers who have been following our opera troupe's performances for over a decade would probably know that we once had a show titled "The Twin Justice Bao". Actually the title was rather misleading, although one part of the show has got a turtle spirit transforming itself into the splitting image of Justice Bao to create havoc, this was not the central theme, and since then the title had been appropriately changed to "Romance of the Carp Fairy".
Recently I realised that a Xiangju troupe from Zhangzhou, Chun Lan Xiangju Opera Troupe, had a show based on the same plot of this show, and same they titled it as "The Twin Justice Bao" as well!
Here are two clips of the performance. Not to say that our troupe has got higher standard, but based on what I saw in the clips, I felt that they are a disaster. Firstly, the male lead Zhang Zhen is a poor scholar, but the costume and headgear worn by the actress doing this role showed elsewise. On the contrary, the female lead, the carp fairy, who disguised herself as the Prime Minister's daughter Jin Mudan, looked too poor. And then the heavenly soldiers who were out to capture her simply looked like the average "human" soldiers, and if not because of i saw Zhong Kui the heavenly ghost catcher appeared in the clip, I wouldn't have realised that they were actually doing the roles of heavenly soldiers. Even then, the appearance of Zhong Kui is a flop to me as well.
Not that I value packaging over other aspects in Chinese opera, but I believe that outlook appearance (costume, makeup, hairdo), singing, acting and stage design are equally important, not forgetting that this is afterall a form of performing arts. Unfortunately, this is one big problem in many Hokkien opera troupes in China at the moment, whereby the troupes are more concerned over acting, and sometimes singing, but overlooked on other areas. This, I feel, is a very crucial setback in the promoting of this opera form, as it will make people think of Hokkien opera as a shabby, sub-standard form of Chinese opera.
For those who are avid Hokkien opera fans in Singapore would probably know that the "champion touring Hokkien opera troupe" (local ones excluded) in Singapore is Xiamen Municipality Gezi Opera Troupe. Then how many know who's the Malaysian equivalent of the same honour? It's Jinfeng Xiangju Troupe from Zhangpu county, Zhangzhou. Other than geographical differences of their home base, Jinfeng Xiangju Opera Troupe is different from Xiamen Municipality Gezi Opera Troupe too in the sense it is not a government-sponsored troupe. Can you image this: since the troupe's founding 4 years ago, it had performed 393 days in total! With such a glorious achievement, I really want to see how the troupe's like in action...
On the same day I watched Zhupu Xiangju opera troupe performing in one corner of Zhangzhou, I chanced upon another troupe staging their performance in another location of the same city. This other troupe I saw was Huang Yamei Gezi opera troupe. They're said to be not too bad too, but more Taiwanese-influenced. The main sheng of the troupe especially, though sang in typical Zhangzhou accent, has got a strong Taiwanese opera feel. The troupe's main actors are not too bad, but I can't say the same for their minor actors.
The show they performed on that day is titled "Empress of Two States". It's about the Emperor of Jin dynasty who was utterly uninterested in politics and hence suffered a humiliating defeat in war and had to marry off his Empress to the King of the invading tribe.
Huang Yamei Gezi opera troupe performing on a makeshift stage; though the stage looks dilapidated, the quality of their performance still surpasses some of the shows I've watched locally
Unlike Zhupu Xiangju opera troupe, this troupe uses projection scenery; this form of backdrop has got the advantage of being unrestrained by the size of the stage, but it takes up quite a bit of space, which could be freed up to hold props or set aside for actors to change costumes and do their makeup (the actors had to do makeup by the side of the road!)
The main sheng of the troupe; she took on 2 roles: Emperor Sima Jinlang and his son Emperor Sima Shuanglong
Almost every troupe, if not all, have got LED subtitle display machines by the side of the stage to facilitate understand of what the actors sing and say (however, sometimes whatever that is displayed may not really reflect what the actors are singing or saying!)
I don't like the actor performing the role of the eunuch because he's very restless on stage
See what I mean? I'm not sure if he'd dozed off or just closing his eyes to rest; whatever the case, this is just not acceptable for me.
Lately I've visited Zhangzhou and caught 2 Xiangju opera troupes performing in 2 different places on a single night. One of which is Zhupu Xiangju opera troupe from Longhai; it is a professional non-government sponsored troupe, and is considered one of the better troupes of its kind in terms of performing standards.
I had not finished watching the entire show, but from what I see, the storyline is as such:
The crown prince of the Emperor is a brave warrior, but is reckless and always foul things up. His brother-in-law, the Princess consort, is on the other hand good at foreign diplomacy and strategies. Fearing that the Emperor would change his mind and decides to pass the throne to the Princess consort, the ruthless crown prince poisoned his father and tried to pass the blame to the Princess consort instead.
Personally I feel this troupe is not bad as the standard of the main acting team quite uniform. Usually in non-government sponsored Xiangju opera troupes, the male xiaoshengs don't sing well, but for this troupe, I find the male actor assuming the role of the evil crown prince passable. The female xiaosheng performing the role of the Princess consort sang and acted well too.
Main drape for the troupe
Troupe in action
The evil crown prince
The Princess consort
See the hua lian at the far corner? She's the troupe leader; one of the very rare few female hua lians in an opera genre whereby male and female actors share the same stage
Fight!
Freeze!
I don't understand why palace maids in non-government sponsored and amateur troupes like to stand in such an aggressive pose!
Another thing I don't like about some Xiangju opera troupes is that the hairdo for the huadans are simply too ugly, like this one here.
This actor, performing the role of the Emperor, is a multitasker; during scenes where he's not required to appear on stage, he doubles up as the cello player
This excerpt is extracted from a now-extinct Xiangju show titled "Tales of the Vermicelli" (面线冤), which was in turn based on a very old story of lady, named Pang, who was chased away by her mother-in-law, after the latter listened to the gossips of her neighbours and firmly believed that Pang had been cursing for her to die behind her back. Pang tried to attempt suicide, but was saved by a nun and since then stayed in the nunnery. Pang's seven year-old son An'an missed his mother and ran out in search of her and were reunited at the nunnery. An'an pleaded for Pang to return home with him, but knowing that it would be impossible for her to return when her mother-in-law is still around, she firmly declined. She told An'an to sit for the imperial examination after he grew up, and upon topping the examinations would she be able to step into the family again with her head up. Years later, Pang's mother-in-law realised how virtuous Pang was, and finally accepted her back into the family. It has once been said that this show has got a slight political implication, reflecting on the Taiwan-Mainland China relations.
Synopsis
Pang stayed at the nunnery, and was afraid of hearing children cry in the night for she would miss her son terribly. On one day, her son, An'an, really turned up, and the mother and son had a tearful reunion. She asked An'an about how the family was after she left, and was upset when she knew that her mother-in-law told An'an that he would be getting a new mother soon. Pang tried to persuade An'an to go home but the latter refused. In anger she threatened her with cane, but found that she could not bear to hit him. She then explained that she could not return until there was someone to protect her from her mother-in-law, and therefore asked An'an to come back after topping the imperial examination when he grew up.
Review
This excerpt relies solely on singing and perhaps acting, and I felt it is quite hard to really shine, unless the actor assuming the role of Pang could sing very well. This is not to say Zhu Lijuan could not sing well; she could sing, but then again in opera competitions like the one the troupe's participating in, you need more punch in order to let people have better impression.
"Jingniang Sends Off Her Brother" is an excerpt from a traditional Xiangju opera show titled "Zhao Kuangyin and Zhao Jingniang", which was featured in many other opera genres as well. This show was based on a folk story about how Zhao Kuangyin (before he became the first Emperor of the Song dynasty) saved a lady by the name of Jingniang from the hands of bandits and send her thousands of miles back to her hometown.
Synopsis
After safely sending Jingniang back home, Zhao Kuangyin left Jingniang's residence, and in the middle of the night, saw Jingniang coming back to send him off. Unable to resist her good intention, he agreed to let her come along. Along the way, Jingniang spoke strange words, and her behaviour was peculiar, and Zhao Kuangyin started to realise that something was not right about her. Upon questioning, he realised that the Jingniang that was in front of him is no longer a human being, but a ghost. It turned out that although Zhao Kuangyin had previously acknowledged her as his sworn sister before embarking on the journey back home, it did not stop people from gossiping about their relationship. After Zhao Kuangyin left Jingniang's residence, neighbours and relatives started spreading malicious rumours behind their back. Jingniang could not tolerate the accusations and hence committed suicide. Zhao Kuangyin regretted his actions, but all was too late; dawn broke and Jingniang disappeared into thin air.
Review
Yang Zhenzhen is not known to be a very solid actor, due to lack of onstage experience. She did improve quite a bit on singing, but her gestures were still lacking. At times her actions did not go well with the percussions, and at times she lacked the feel of a hovering ghost. Her co-acting partner, Zheng Ruosong, did not fare well as he did not sing well enough. I feel that even though the focus is not on the role of Zhao Kuangyin (since only Yang Zhenzhen is participating candidate in this excerpt), the director should at least get someone who could sing better, so as not to pull down the grading for the show.
"Summer Snow", also called "The Grievances of Dou E", was written by master scriptwriter Guan Hanqing in the Yuan dynasty, originally to show his dissatisfaction with the corrupted government of that era. This script has been adapted into many different modern opera genres, including Peking opera, Gaojia opera, Teochew opera and many others. The highlight of the show is the scene "Execution of Dou E", in which this excerpt here is based on.
Synopsis
Widow Dou E had been given the death sentence for she was accused for murdering her father-in-law, which was actually not true. The truth was that a father and son had lusted over Dou E's widowed mother-in-law and herself, and in order to make Dou E succumb to him, the son tried to poison Dou E's mother-in-law, but in accident, his father was poisoned to death instead. The son then tried to shift the blame onto Dou E's mother-in-law, but Dou E took the rap instead. Before her execution, Dou E made three wishes: first, her blood was to spill upwards onto a long white sash, and not onto the ground; second; Chuzhou will snow for 3 years to bury her body; third, a famine will take place after the snow for 3 years, to show her innocence.
Review
Xu Yuxiang is one of the all-rounded new bloods in the troupe. Not only can she sing well, she could act well in both wen and wu roles, and those in between. This excerpt is a good show to showcase her talent and there is a great deal of singing, acting and complex movements. If there was anything dissatisfactory, it would have to be the execution part, where Xu Yuxiang's landing on the ground should have coincided with the executing actions of the executioner, but unfortunately she landed too early, making that action seemed illogical.
"Sorrowful Meeting at Shen Garden" is the final scene of "Lu You and Tang Wan", an award-winning Zhejiang Yueju opera show starring Mao Weitao and Chen Huiling as the title roles. This excerpt has been adapted into Teochew opera before as well.
Synopsis
After leaving home for three years, Lu You returned to his hometown full of thoughts. While Lu You is famed for his talent in poetry and passion in politics, his marriage with his cousin Tang Wan was unfortunately a failure. Old Madam Lu was so upset that Lu You's relationship with her had distanced since his son got married, and henced tried ways to separate them. To ease the tension, Lu You decided to leave for Fuzhou, not before writing a secret letter to Tang Wan, asking her to wait for 3 years for his return. Old Madam Lu got hold of the letter, and amended the letter so that it would read "wait for a hundred years", in an attempt to make Tang Wan think that Lu You is trying to divorce her. Tang Wan saw through old Madam Lu's tactics, and deciding not to create more tension between the mother and son, she decided to get remarried to Lu You's friend, Master Shen. This day, when Lu You arrived at Shen's Garden, he chanced upon Tang Wan again, and was shocked that everything had changed. In sorrow, he penned his famed poem "Phoenix Hairpin" on the walls of the Shen's Garden.
Review
Zheng Yaling has got her own singing style, which can be considered her asset. However, in terms of shenduan, she is relatively weaker. Fortunately in this excerpt, the gestures are all modeled after Mao Weitao's movements in the original Yueju version, and I feel that Yaling performed better now, except for the final sword dance, which I felt she did not make full use of the duration of the music. Having said so, it is still debatable as to whether or not the director should set a new directing style (in terms of gestures and costumes), instead of copying everything as they are from Yueju. To be honest, if one were to cover his/ her ears, and not look at Yaling's face, one would even be misled into thinking that he/ she is watching a Yueju excerpt.
Musically, I feel that this excerpt's composition is one of the more unique among all the other excerpts that the troupe is about to bring to Fuzhou for competition. Like in the opening of the scene, the "Xin Bei Diao" melody (新北调), which was usually meant for sorrowful scenes, was transposed from F to C key. This alteration of the pitch added a sense of spiritedness to the character of Lu You as a passionate politician. Also in the closing of the excerpt when Lu You was penning the poem and doing his sword dance, the music had been specially recomposed to suit Lu You's innermost feelings and conflicts.
Introducing here, is Zhangzhou City Xiangju Opera Troupe's latest masterpiece "Legend of Wang Cuiqiao"!
For those who had attended the troupe's performance at Lor Koo Chye Sheng Hong Temple during last year's Lunar New Year season would not be unfamiliar with this show, as this was the same show they performed for their finale.
"Legend of Wang Cuiqiao" tells the story of Wang Cuiqiao, an ill-fated maiden who lead an extraordinary life during the restive Jiajing period of the late Ming dynasty. Wang Cuiqiao was supposed to come from a well-to-do background, with a father serving the Emperor in the royal court. However, he was unfortunately being maligned by treacherous officials and thrown into the jail. Wang Cuiqiao, on the other hand, was being sold into the brothel. She was subsequently redeemed by a scholar Xu Wenchang, and were supposed to get married, but alas she was later abducted by some Japanese pirates, and due to unexpected twist of events, she became the wife of a bandit king named Xu Hai. Unlike other unfortunate women who landed in the hands of bandits, she did not suffer, as Xu Hai held her with high respects, and even treated her like a personal advisor. At this point of time, Marshal Hu Zongke was given the decree by the royal court to subdue the bandits terrorising the costal regions of southern China. Under the advise of Xu Wenchang, who happened to be his subordinate, he decided to send Xu Wenchang to Xu Hai's lair, hoping to persuade Xu Hai into surrendering his troops to serve the royal court. On seeing her lover again, Wang Cuiqiao was at conflict as to who should she follow, but as she was already Xu Hai's wife, she decided to let her love with Xu Wenchang become history. However, she was still trustful of Xu Wenchang, and she knew this would be a good opportunity for Xu Hai to turn over a new leaf and lead a normal peaceful life together with her. Xu Hai, of course, had no doubt in Wang Cuiqiao's foresight, and agreed instantly. However, neither of the trio knew that all these "peace talks" were just ploys of the Marshal to stem out the bandits. Not long after Xu Hai surrendered his 5000-men strong fleet to the imperial capital, Hu Zongke immediately accused Xu Hai of trying to stage a revolution by bringing his entire troop into the city, and had him and his subordinates killed. Wang Cuiqiao blamed herself for causing the death of her husband and his subordinates, and when the royal court decided to give Wang Cuiqiao an official title for doing a "righteous deed" by helping them eliminate the bandits, she made use of the opprtunity to ridicule the royal court for it's hypocrisy, and finally commited suicide as a form of apology to the deceased bandits.
Although this show had premiered in Singapore last year, it was however just a "sneak preview", and frankly speaking, this show was not meant to be performed in temple fairs due to the simplicity of the stage. This time round, having staged the show in full splendor at Fanghua Theatre (I believe this theatre is in Fuzhou) in late January this year, there was a vast improvement, in terms of scenogaphy, costume design and lighting design. Take a look at the pictures here!
Zhangzhou Shaoquan Gezi Opera Troupe was established in 1990 by Xiangju opera actor Zhuang Shaoquan. Although the troupe had got a relatively short history, it was nevertheless one of the more well-known one among the professional, non-government sponsored troupes. Not only were their scripts well written, their performances were of high standard. The troupe also have have young actors, many of which were either 3rd-graders or had won awards in opera competitions before.
This clip featured here is taken from their show "Qing Zhu Si", adapted from a popular folklore from Anxi region, Quanzhou. It tells the story of Xiauo Chunju, the wife of trader Wang Xiang, who had an affair with a local scholar ("Ju Ren"). After their extra-marital affair was discovered by Wang Xiang, Chunju and her lover tried to poison Wang Xiang by forcing a poisonous snake "Qing Zhu Si" down his throat. Anxi Magistrate Huang Tizhong wanted to solve the case, but could not find any visible evidence on Wang Xiang's body. One night, the Cheng Huang God appeared in Huang's dream, and tipped him off. With the clues given by Cheng Huang God, Huang finally crack the mystery, and had the real culprits nabbed.
When I first heard of this troupe, I wasn't very confident of the troupe. For one, the troupe is from Zhangzhou, and second, it's a non-goverment sponsored troupe. I've watched a few Zhangzhou troupes' performances before, and so far there were only one or two troupes which I can consider good. For those "blacklisted" troupes, either their costumes were a disaster, or the actors could not sing to save their lives, or that their scripts were simply non-exsistence. For Shaoquan Gezi Opera Troupe, fortunately all these negative points were not applicable. In terms of script, I find that it was well-written, without being too lengthy (as with many other similar troupes; a simple story can actually span into a 2-day show!). As for the music, I find it very soothing to the ears, especially their "zasui" tune. At times they sounded quite like the "duma" tune of the Taiwanese opera in the 60s, and I find it very nolstagic. Most importantly, when they combined traditional Xiangju tunes with Taiwanese opera tunes in their show, they are able to blend in with one another, instead of sounding weird. In terms of acting, I think the actors were competent in their respective roles, though I find that the actors who took on the roles of the local scholar and Wang Lanying (Wang Xiang's sister) just average. One thing I had to say is that the actress who acted as Xiao Chunju (featured in this clip above) acted and sang quite well. At lease she doesn't have the squeaky voice like many typical Zhangzhou dans. As for their costumes, their wardrobe had better looking costumes than some other Zhangzhou troupes. Some other troupes which I've seen tried to imitate the costumes worn in Taiwanese opera, but in the end turned out to be a fashion disaster.
In short, I find that this troupe has got a strong cast, music ensemble and production crew. This gave me more confidence in the standards of non-government sponsored Xiangju troupes in Zhangzhou.
