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Stage Performances |
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The legendary impartial, judicious and sagacious ‘Justice Bao’, or ‘Bao Ching’, of the Song Dynasty is often featured in Chinese traditional theatre. In the upcoming New Cantonese Opera Justice Bao, two stories revolving round him would be presented as a double-bill, i.e., The Caucasian Circle, which is adapted from Yuan Dynasty zaju, and Chisang Town, which is taken from Peking Opera. The focus would be on the human aspect of Bao’s character in addition to depictions of his usual uprightness and superb wisdom.
Well-known Cantonese Opera star, Yuen Siu-fai will play the title role. He will strengthen Justice Bao’s awe-inspiring image by singing with the ‘back-of-head tone’, which is a kind of vocalizing through resonance used by actors in ‘painted face’ roles in Peking Opera. It is a deep, metallic voice, as opposed to the ‘explosive vocal technique’ of the traditional Cantonese ‘painted face’ role. In Chisang Town, veteran artist Yau Sing-po will play the transvestite role of Wu Miaozhen, Bao’s sister-in-law who brought him up. Yau will portray the turmoil and internal struggle when faced between motherly love and sacrifice when the life of her own son is at stake. Expect an electrifying performance between the two great actors in this interpretation of the famous judge in Chinese history!
Cheung Hoi-tong sells herself to a brothel to support her impoverished family. She later marries Ma, a wealthy esquire, as his second wife and bears him a son. Ma’s first wife Hu has an affair with a government officer, Chiu. She kills her husband with poisoned soup and puts the blame on Hoi-tong. In order to keep the whole estate solely to herself, Hu tries to take away Hoi-tong’s son as her own. She plots together with Chiu and bribes the neighbours and the midwife to support her claim that she is the real mother of the child. Hoi-tong is convicted. The case is submitted to the council at the capital for approval.
Bao Ching, the chief councillor, becomes suspicious. He summons Hoi-tong, Hu and the others. At the tribunal, both Hu and Hoi-tong claim to be the real mother of the child. Then Bao comes up with an idea. He orders the child be placed in a circle of chalk on the floor and that the two women should each hold one of the child’s arms. Bao says that the one who manages to pull the child out of the circle is the real mother. Hoi-tong cannot bear to hurt her child and therefore let go her grip when Hu tugs. Bao Ching reasons from a psychological point of view and judges that Hoi-tong is the real mother. The verdict of the first trial is reversed. Hu admits her guilt. Hoi-tong is vindicated.
The Caucasian Circle originated from a story in ancient time with various versions in different places. A similar record can be found in the text about King Soloman in the Bible. The story finally gained its way into China and was adapted by Li Xingdao, a playwright in the Yuan Dynasty, as Councillor Bao’s Chalk Circle, the translation of which was brought overseas in the latter half of the 19th Century. The famous modern German playwright Bertolt Brecht (1898-1956) was inspired by the story and wrote his epic theatre The Caucasian Chalk Circle in 1944, interpreting the court case with a new content and meaning.
Cast:
Bao Ching’s parents abandon him when he is still a young child. He is raised by his sister-in-law Ng Miu-jing. Bao treats Ng as his own mother and the two are deeply attached to each other. During a crown mission to distribute provisions in the province of Chen, Bao receives a petition which alleges that his nephew Bao Min, sheriff of the county of Siu Shan, has perverted justice for a bribe. Bao Ching investigates and finds the complaint justified. He enforces the law impartially and executes Bao Min with his legendary set of lever-chopper, regardless of the family relationship. Miu-jing is shocked, furious and extremely sad when she hears the news. She hurries to Chisang Town and makes a scene there, wailing and whining. She accuses Bao Ching of being heartless and blames him for killing her only son. Bao Ching explains to her tactfully and finally manages to make her understand what righteousness means. Edified, Miu-jing reconciles with Bao Ching.
Chisang Town is originally a traditional repertoire of Qinqiang with variations in other opera genres. It was performed by the Peking Opera Company of Beijing in 1961, featuring Qiu Shengrong and Li Duokui, and has since then become a classic of musical dialogue between hualian (literally ‘painted face’, a male role of forceful character) and laodan (an old woman role). Chisang Town is a play demanding great singing techniques, allowing thus performers of tongchui hualian and laodan to demonstrate their professional skills.
Cast:
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