Monkey King Play Series:
Youth Troupe of the Peking Opera Theatre of Beijing and Li Baochun
Monkey play is categorised by region and defined as the southern and the northern styles. The southern style monkey play is headed by Shao Opera of Zhejiang; the northern style is represented by Peking Opera, which is the most widespread operatic genre across the country. The monkey play in Peking Opera is further categorised into the southern and northern schools. The art of Yang Yuelou and his son Yang Xiaolou is exemplary of the northern school monkey play of Peking Opera. Subsequently, Li Shaochun, master of wusheng (military male role), combined the strengths of the northern and southern schools and built his own interpretation based on the Yang style. His portrayal of the Monkey King is not only characterised by the nimble and dexterous traits of a monkey, but also reveals with demeanour of the Monkey King. One could describe his performance as a perfect amalgamation of monkey, human and deity. The Festival has specially invited Li Baochun, the son of Li Shaochun and renowned Peking Opera artist from Taiwan, to collaborate with the Youth Troupe of the Peking Opera Theatre of Beijing performing his father’s renowned monkey play Monkey King Wreaking Havoc in Heaven and the classic play Xue Pinggui Leaving His Humble Abode. The exciting line up of other monkey plays features The Eighteen Arhats Fighting with Wukong, Sun Wukong Subduing the Leopard Monster and Wukong dashes towards The Bottomless Hole. There are also highly technical martial excerpts Sawing the Big Jar, Mount Yandang etc. to showcase the finest young martial actors of the troupe, who will perform their superior skills on stage. In addition to the strong line up of martial performances, Chi Xiaoqiu, renowned Cheng (Yanqiu) school qingyi (virtuous female) and Zhu Qiang, a laosheng (old male) actor of the Ma (Lianliang) style, will stage the classic title of the Cheng school called A Lesson from the Mother. The exciting programme, which comprises of both bold and tender elements, provides satisfaction in all aspects.
Monkey King Play Series:
Youth Troupe of the Peking Opera Theatre of Beijing and Li Baochun
28/7 (Thu) 7:30pm
Auditorium, Sha Tin Town Hall
Monkey King Wreaking Havoc in Heaven
A representative Monkey King Play in traditional Peking Opera, the story is inspired by the novel Journey to the West. A showcase of the wit, courage and resolute of the Monkey King. Northern school acrobatic skills are displayed in the action sequences. The adorable image of the Monkey King is crafted with a touch of humour.
Monkey King Sun Wukong visits the Dragon Palace to borrow armours. The Dragon King despises Wukong and tricks him to move the sea-calming needle. To his surprise, Wukong puts his magical powers to work and turns the sea-calming needle into his own weapon, the golden hooped cudgel. The Dragon King regrets and visits the Heaven Palace to beg the Jade Emperor’s help to capture Wukong. Li Changgeng proposes a strategy to settle the situation, and deceives Wukong to the celestial stable to look after the horses. Wukong sees through his trick and creates a scene at the stable. He returns to Mount Huaguo and puts up the flag “the immortal Monkey King”. Li Changgeng goes to Mount Huaguo and pretends to invite Wukong to the peach banquet. Wukong arrives at the Heaven Palace, and learns from the fairy maidens that he is not on the invitation list of the peach banquet. He is furious and wrecks the Jade Pond. He feeds himself with the magic golden pills.
The Jade Emperor sends Erlang Shen to capture Wukong. Having taken the magic golden pills, Wukong’s bones and muscles become as strong as steel; he is now invincible. The Jade Emperor ushers him to the Bagua burner of the Great Supreme Lord and heats him up with fire, but Wukong manages to escape from the burner. The Heaven Palace deploys its troops. Under the leadership of Li Jing, a battle is launched against Wukong. The wise and brave Wukong wins the battle. Surrounded by the cheering and rejoice of his monkey subjects, Wukong sings his triumphant song and victoriously returns to his mountain.
Cast: Li Baochun, Zhan Lei (both act as Monkey King); Zhang Kai, Li Yang, Zhai Gang, Mei Qingyang, Chen Zhangxia, Wang Lei, Zhang Xuran, Bi Jiawang, Huang Chen, Yu Shuai
The Jade Emperor sends Erlang Shen to capture Wukong. Having taken the magic golden pills, Wukong’s bones and muscles become as strong as steel; he is now invincible. The Jade Emperor ushers him to the Bagua burner of the Great Supreme Lord and heats him up with fire, but Wukong manages to escape from the burner. The Heaven Palace deploys its troops. Under the leadership of Li Jing, a battle is launched against Wukong. The wise and brave Wukong wins the battle. Surrounded by the cheering and rejoice of his monkey subjects, Wukong sings his triumphant song and victoriously returns to his mountain.
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The Eighteen Arhats Fighting with Wukong
Another masterpiece of Monkey King Play in classic Peking Opera inspired by Journey to the West. This is usually performed in tandem with Monkey King Wreaking Havoc in Heaven. The series of martial arts acts is extraordinarily energetic.
After Sun Wukong wreaked havoc at the Heaven Palace, the Jade Emperor sends 100,000 celestial soldiers to follow and capture the Monkey King. But they are no opponent for Wukong. Erlang Shen is therefore sent to assist with the battle. The Great Supreme Lord uses the Golden Jade Ring and defeats Wukong, taking the Monkey King to the heavenly borders. Since neither daggers nor axes can hurt Wukong, the Great Supreme Lord puts Wukong into his burner and heats him up. Wukong takes up the energy from the fire and gains powerful golden fiery eyes. After he jumps out of the burner, he laughs at the Great Supreme Lord. The Buddha sends the eighteen Arhats to fight with Wukong. They capture Wukong in the end.
Cast Zhan Lei, Meng Xianteng, Huang Chen, Yu Shuai, Wang Jun, Zhang Xuran, Wang Lei, Liang Junwei, Jing Baoqi, Wang Di, Cao Yangyang, Wang Yuxi
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29/7 (Fri) 7:30pm
Auditorium, Sha Tin Town Hall
A Lesson from the Mother
A representative repertoire of Cheng (Yanqiu) school qingyi (virtuous female) and a laosheng (old male) actor of Ma (Lianliang) style. Only the excerpt of Teaching the Son is played in recent years. The rearranged full script has a more delicate characterisation. The excerpt The Weaving Room played by Chi Xiaoqiu and Zhu Qiang is particularly touching.
During the Ming dynasty, there are three brothers in the Xue family. The eldest brother passes away and is survived by his widow Zhang. The second brother Xue Qi has a wife Liu and a son Xue Yi. The youngest brother Xue Yan has a wife Wang Chun’e, who is upright, honest and generous. Xue Qi travels to conduct business, and Xue Yan takes part in the imperial exam at the capital city. Xue Qi runs into a storm on his sea journey and dies. Eyeing the fortune of the family, the wives of the first two brothers Zhang and Liu make up a story that Xue Yan also dies on his way to the exam. They force Chun’e to re-marry. The family is devastated with the tragic news. Old servant Xue Bao is sent to escort the coffin of the deceased for proper burial. Zhang and Liu take their chances to snatch all valuables at home. They sell everything, abandon their son and kicks out Chun’e. Both bad wives remarried. Chun’e vows not to remarry and raises orphan Xue Yi, who is abandoned by his birth mother Liu. At school, Xue Yi is laughed at for being a motherless child. He angrily returns home and does not listen to Chun’e anymore. Chun’e is furious and she cuts her work on the weaver to demonstrate her anger. Xue Bao calms down the situation and reunites the mother and child. Chun’e works very hard and keeps on weaving even she is hungry. She tries to earn enough money to raise Xue Yi. Xue Bao, on the other hand, makes straw sandals to support the family. After thirteen difficult years, Xue Yi goes into adulthood. He ranks first at the imperial examination. Xue Yan makes accomplishment at the battlefield and is promoted to the Deputy Minister of Defence. He meets his nephew Xue Yi and both returns to their home town. They denounce Zhang and Liu, give them money and ask them to lead a good life. Chun’e reunites with her family.
Cast Chi Xiaoqiu, Zhu Qiang, Wang Qianqian, Zhang Kai, Mu Yu, Wang Yuxi, Mei Qingyang, Zhu Hong, Zhai Gang, Cao Yangyang
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30/7 (Sat) 7:30pm
Theatre, Ko Shan Theatre
Excerpts from martial arts play
Subduing the Leopard Monster
Also known as Mount Hongmei, this is a repertoire of wusheng (military male) and wuhualian (military painted face) roles. The action sequences call for extremely high technicality. To stun and amuse the audience, the leopard monster performs different tricks using a real steel fork.
This is inspired by the demon-fighting stories of Tang Sanzang and his three students in Journey to the West. Deng Hong, Ministry Councillor takes his family to pay respects to their ancestors at the cemetery on Qingming festival. His daughter is quite beautiful, and she catches the eye of the Leopard Monster. This mountain demon orders his assistant Du Bao, a weasel demon, to visit Deng Hong and asks for his daughter’s hand for marriage. Deng Hong does not give his blessing, but the weasel demon shoves the wedding gifts, fixes a date for the wedding and leaves. Deng Hong knows it is a demon and does not know what he can do. Just as Deng is worried sick, Tang Sanzang and his students walk past their home and asks to be put up for the night. Knowing of the situation, the travelling group promises to help expel the demons. Student Zhu Bajie is asked to disguise as young Miss Deng, and Sun Wukong plays her maid. They hide weapons in their sleeves and wait quietly in bed, so that they can capture the Leopard Monster off guard when he arrives late in the night. The Leopard Monster senses the unfavourable situation and tries to escape immediately. Wukong and his mates go after the monster and start a battle. The Leopard Monster lost. He brings all his junior demons to fight back with their dark magic. Wukong is defeated this round. He seeks help from the celestial soldiers and captures Leopard Monster in the end.
Cast Yu Shuai, Cao Yangyang, Su Congfa, Jing Baoqi, Tian Yuanfei, Zhao Shikang, Mu Yu, Zhu Hong
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Sawing the Big Jar
A mythical act about pacifying monsters performed by a wudan (military female). The combination of entertaining singing and reciting, as well as high-octane actions, demonstrate the extraordinary “weapon off hand” techniques of wudan roles in Peking Opera.
Wang Daniang becomes the drought demon after she dies. She creates droughts in the Mount Baicao area. Guanyin sends Weituo to capture her. Since Wang has a very dirty jar, Weituo delegates the task to the Duke of Thunder as he does not want to stain his treasured magic pestle. The jar cracks, but no one can go near Wang. The local Earth Deity is fearless. He wants to help the villagers by killing the demon. Despite the advice of his wife, he turns himself into a metal craftsman to finish the task of cracking Wang’s jar. He makes outstanding achievements. Guanyin therefore sends Kong Xuan (also known as the Peacock Mingwang Buddha), White Parrot and Great Peng to lead celestial soldiers to help. Although Wang Daniang colludes with the Golden Eyed Leopard and others to fight the celestial troops, the demons are annihilated in the end.
Cast Chen Yu, Liang Junwei, Wang Jun, Zhai Gang, Yan Shuai
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Li Kui Visits His Mother
A play created and rehearsed by the late artists Yuan Shihai and Li Jinquan. Singing, reciting, acting and facial expressions are put together to craft the artistic image of the love between a mother and a son.
Li Kui follows Song Jiang to Mount Liang. Missing his blind and old mother, Li Kui is allowed to go home to get her to Mount Liang as well. Li Kui tells a white lie to his mother that he is now a government official and is taking her to enjoy a better life. His older brother Li Da returns home and reveals the lies and secrets of Li Kui; Li Da also tries to get extra help from his borrower’s home to capture Li Kui. Knowing that the place is not somewhere he can stay, Li Kui brings his mother on his back and hurries back to Mount Liang.
Cast Hou Yu, Li Yang, Mei Qingyang
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Mount Yandang
The one and only military mime in Peking Opera. Actions and somersaults are used to show scenes of two armies fighting – chasing, battle at night, fighting on the road, combat in the waters, attacking a city, etc.
During late Sui dynasty, the ruling class lives in extreme extravagance and land is fiercely taken. There are lots of radical invasions and people are forced to pay high taxes and offer unpaid labour. They have no choice but to revolt. Leader Meng Haigong leads the people to pursue and attack the Sui aristocrat He Tianlong, the defending general of Mount Yandang, who is pushed to the fork of the mountains. He Tianlong leverages on the geographical advantages to stay away from the chase. He climbs over the mountains and tries to take a short break. However, his plan is seen through by Meng Haigong. Meng and the voluntary army climb up the dangerous ridges and prepare for a night attack. He Tianlong fights back in panic and puts up a desperate struggle. After rounds of nocturnal fights, he flees into a lake. Meng Haigong wants to keep up with their victory. He Tianlong is crushed on land and in the lake. He retreats to the gate of Yanling to defend. Meng Haigong continues to attack from all sides and eliminates all remaining enemies, concluding the battle with victory.
Cast Zhan Lei, Jing Baoqi, He Haoran
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31/7 (Sun) 7:30pm
Auditorium, Tuen Mun Town Hall
Xue Pinggui Leaving His Humble Abode
An act in which a laosheng plays opposite a qingyi. Requiring superior singing and acting skills, the play highlights the skills of the actors and shows the pathetic and moving story of a newly wedded couple facing departures of life and death.
After Xue Pinggui marries Wang Baochuan, the daughter of the Prime Minister Wang Yun, he becomes enlisted and defeats the stallion with the red mane. He is promoted to the rank of rear-guard of the army. When the military documents of Western Liang of the Sixteen Kingdoms arrive, Wang Yun recommends Wei Hu and Su Long as the chief and assistant commanders, and Pinggui is demoted to an advance guard, under the command of Wei Hu. They are to embark on their long military journey. Pinggui has no alternative but to return to his humble abode to bid farewell to his wife Baochuan.
Cast Li Baochun, Wang Yi
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The Bottomless Hole
A representative Peking Opera repertoire of wudan roles that fully showcases brilliant martial arts sequences. The “weapon off hand” techniques are particularly captivating.
Trapped in the bottomless hole in an empty mountain, the female demon Jade Mouse Demon wants to take Tang Sanzang prisoner and make him husband. She disguises herself as a maiden seeking help, so that Tang Sanzang can save her, and she can act when the opportunity arises. Sun Wukong sees through her intentions and tries to stop her evil doing. Yet, Tang Sanzang is still trapped into her bottomless hole. Wukong looks into the hole and discovers the ancestral tablets of Li Jing, the Pagoda Bearing Heavenly King, and his son Nezha. He therefore steals the tablets and brings them to the attention of the Heaven Palace. Learning about the matter, Li Jing and Nezha lead a celestial troop capture the demon from the mortal world. Yet, it is a difficult battle to defeat the Jade Mouse Demon. In the end, they seek help from the Cat Deity to catch the Jade Mouse Demon, freeing Tang Sanzang from danger.
Cast Zhang Shujing, Zhan Lei, Wang Yuxi, Li Yang, Zhai Gang, Yu Shuai, Wang Lei, Zhang Xuran
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Monkey King Play Series:
Youth Troupe of the Peking Opera Theatre of Beijing and Li Baochun
Youth Troupe of the Peking Opera Theatre of Beijing
Established in 1979 in Beijing, with “The Four Greats in Female Lead Roles’’ (viz. Mei Lanfang, Shang Xiaoyun, Cheng Yanqiu, Xun Huisheng) and “Five Premiere Actors” (viz. Ma Lianliang, Tan Fuying, Zhang Junqiu, Qiu Shengrong, Zhao Yanxia) as founders, the theatre is in itself a wealth of valuable artistic and spiritual legacy. The theatre is full of talents, encompassing a variety of styles and schools of artistic expressions. Over the decades, the theatre has presented over five hundred traditional and original plays. Youth Troupe of the Peking Opera Theatre of Beijing is a performance group under the theatre which is led by famous Peking Opera artist Chi Xiaoqiu, who has led the troupe fully equipped with all-rounded talents and gear in an entourage to visit and perform in the United States, Russia, Australia, Germany, France, Brazil, Malaysia, Japan, Portugal, Hong Kong and Taiwan etc. The troupe gains good reputation worldwide and in China.
Monkey King Play Series:
Youth Troupe of the Peking Opera Theatre of Beijing and Li Baochun
Chi Xiaoqiu
Chi Xiaoqiu is a National Class One Performer, a famous Peking Opera artist, a successor of the Cheng stylistic school, and currently the Director of Youth Troupe of the Peking Opera Theatre of Beijing. In 1983 she was taught by Wang Yinqiu who was the heir of Cheng Yanqiu. A year after, at the age of 19, she won the 2nd Plum Blossom Award for Chinese Theatre; to date, she remains the youngest winner of the Plum Blossom Award for Peking Opera. Her accolades include the championship for Nomination Award in Female Lead Roles Section in China’s 1st Mei Lanfang Gold Awards Competition in 1993, the 7th Wenhua Performance Award presented by the Ministry of Culture in 1997, and the Lifetime Artistic Achievement Award of the Lincoln Centre for the Performing Arts in 2011.
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Li Baochun (Guest)
Li Baochun was born into a family of great theatrical heritage. His grandfather is Li Guichun (also known as Xiao Dazi); his father is Li Shaochun, and his mother is Hou Yulan. Li began his opera training with his grandfather since he was nine, and was admitted to Beijing Peking Opera School at ten. Following his father’s style, Li specialises in wenwu laosheng (old male in both civil and military styles) roles. He received formal opera training for eight years and was personally taught by the school’s principal Ma Lianliang and Wang Shaolou, Yang Jufen, Xu Yuanshan. A strong foundation of civil and martial skills was built during these years. Li was conferred an Honorary Doctoral Degree by the Northern Pontifical Academy in Nantes, France in 1983. He received the Award for Outstanding Asian Artist from the Lincoln Centre, New York in 1987. Recognition from a list of art festivals followed, including the White Magnolia Award from the Shanghai China International Arts Festival; the Special Jury Prize and Excellent Performance Prize at the China Peking Opera Festival, etc. Li joined the Peking Opera Promotion Group of the C. F. Koo Foundation in Taiwan in 1990. He later founded Taipei Li-yuan Peking Opera Theatre in 1998 and about 50 productions of new and classic titles have been performed since then. In addition to reorganising a repertoire of traditional plays, Li is also actively touring around Europe, the United States, Japan, etc. as a world-renowned performing artist.
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Zhu Qiang
Zhu Qiang is a National Class One Performer, a famous laosheng actor of the Ma (Lianliang) stylistic school and a lead actor of the Mei Lanfang Company of the Peking Opera Theatre of Beijing. He is a Bearer of the Intangible Cultural Heritage of Beijing City and was among the first batch of trainees of the postgraduate course for Chinese outstanding young Peking Opera performers. He has learnt from such famous artists of the Ma stylistic school as Yin Yueqiao, Chi Jinsheng and Ma Chongren. In 1987, he became a disciple of famous Peking Opera artist, Zhang Xuejin. His appearance is handsome and charming, his voice is pure while his charm is intense and lingering. He is best at playing traditional repertoires as well as revived historical repertoires, and he pioneered in creating the performance of an experimental Peking Opera What Is Done Cannot Be Undone in small theatre.
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Wang Yi
Wang Yi is a National Class One Performer specialised in qingyi and daomadan (sword-wielding and horse-riding female) roles. She was among the fourth batch of trainees of the postgraduate course for Chinese outstanding young Peking Opera performers and follows the artistic schools of Wang (Yaoqing) and Mei (Lanfang). She was trained under Hua Shixiang, Yan Shishan, Li Jinhong, Jiang Fengshan, Li Yufu, Xie Ruiqing, Wu Suqiu, Liu Xiurong, Yu Yuheng and Yang Qiuling. She won the Outstanding Performance Award at the All China Television Grand Prix for Young to Middle-aged Peking Opera Performers in 1991, the Beijing City Young Performers Class One Award in 1993, the Wenhua Performance Class One Award at Henan Province 11th Drama Competition and a Silver Award at the 5th Peking Opera Festival of China.
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Zhang Shujing
Zhang Shujing is a National Class One Performer specialised in wudan and daomadan roles. She graduated from National Academy of Chinese Theatre Arts and was among the fourth batch of trainees of the postgraduate course for Chinese outstanding young Peking Opera performers. Her teachers included Li Jinhong, Li Xihong, Ye Hongzhu, Liu Qi, Wang Yuzhen, Qiao Cuirong, Zhang Xunpeng, Yan Guixiang, Wang Xiuyun and Li Yufu. She became a disciple of famous performing artist, Liu Xiurong, in 2003. She was the winner of the Gold Award at the All China Television Grand Prix for Young Peking Opera Performers in 2001, the Silver Award for the Military Actors’ Arena at the 4th Peking Opera Festival of China in 2004 and the champion of Military Female Roles at Charming Spring National Young Peking Opera Performers (Beijing) Challenge Cup in 2011.
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Zhan Lei
Zhan Lei is an outstanding young wusheng actor and a graduate of National Academy of Chinese Theatre Arts. He was a trainee in the fifth batch of the postgraduate course for Chinese outstanding young Peking Opera performers. He was trained under Yang Shaochun, Wang Daicheng, Li Haotian, Li Jingde, Liang Bin, Zhang Baohua, Li Jinsheng, Qian Rongshun, Liu Jingkui, Zhang Qizhong, Zhang Shanlin, Ma Yuzhang, Zhou Long, Xin Yuge, Guan Shizhen, Han Zengxiang and Zhu Jingui. He won the Gold Award at the CCTV All China Television Grand Prix for Young Peking Opera Performers in 2008 and Military Male Roles Class One Award at Charming Spring National Young Peking Opera Performers (Beijing) Challenge Cup in 2011.
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Li Yang
Li Yang is a National Class Two Performer specialised in hualian (painted face) roles. He was trained under Xia Yunlong, Gao Changqing, Xi Yushen, Wang Fulai, Meng Xianda, Yang Zhengang, Zhao Zhenwu and Li Jiqing. He became a disciple of Meng Guanglu in 2009 and is currently learning from famous painted-face artist, Luo Changde. He won the Silver Award in Painted Face Roles at the CCTV 7th All China Television Grand Prix for Young Peking Opera Performers in 2012.
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Hou Yu
Hou Yu is an outstanding laodan (old female) performer, in the stylistic school of Li. She graduated from the Peking Opera performance specialism, Master of Fine Arts and the stylistic school inheritance learning class in the undergraduate programme of the National Academy of Chinese Theatre Arts. She was a trainee in the sixth batch of the postgraduate course for Chinese outstanding young Peking Opera performers. She is a disciple of Li Mingyan and Zhao Baoxiu, and has learnt from Zheng Ziru for many years. She also received training from Sun Zhenquan, Zhang Jing’ai, Lin Yawen, Zhang Lan, Li Liping and Wang Ziping. She won the Class One Award at Beijing City 4th Jingkun Competition, the Gold Award at Chinese Opera Red Plum Competition in 2009, the Silver Award of Old Female Roles at the 7th All China Television Grand Prix for Young Peking Opera Performers and a championship at Charming Spring National Young Peking Opera Performers (Beijing) Challenge Cup.
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Yu Shuai
Yu Shuai is an outstanding wuhualian actor and a graduate of the Beijing Chinese Opera Art’s College. His teachers included Zhang Dehua, Li Guichen, Zhao Zhenwu, Yang Zhengang, Qu Yongchun and Ding Zhenchun. He was the winner of Gold Flower Number One Scholar Award at the National Young Plum Blossom Competition in 2003, the Class One Award at Shenjian Cup Tournament by National School of Art in 2005, the Outstanding Performance Award in the Highlights from Operas of National Young Peking Opera Performers in 2012 and the Silver Award of Painted Face Roles at the 7th All China Television Grand Prix for Young Peking Opera Performers.
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Chen Yu
Chen Yu is an outstanding young performer specialised in wudan roles and a graduate of National Academy of Chinese Theatre Arts. She was trained under Zhang Linna, Hou Wenrui, Guo Jingchun, Ma Shuai, Tian Bing and Li Yali. She became a disciple of famous Peking Opera artist, Song Danju, in 2008. In the same year, she won the Outstanding Performance Award at the All China Television Grand Prix for Young Peking Opera Performers and the Gold Award in the 1st National Opera School Peking Opera Students Television Award.
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Jing Baoqi
Jing Baoqi is a National Class Two Performer specialised in jiazi hualian (a male actor with a painted face who specialises in emotive gestures) roles. His father is the famous Peking Opera artist, Jing Rongqing. His teachers included Xia Yunlong, Yang Ronglou, Zhang Dehua and Xi Yushen. He has visited and performed in France, Germany, Belgium, Austria and Japan with the theatre.
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Monkey King Play Series:
Youth Troupe of the Peking Opera Theatre of Beijing and Li Baochun
Youth Troupe of the Peking Opera Theatre of Beijing and Li Baochun
28-29/7 Thu-Fri 7:30pm
Auditorium, Sha Tin Town Hall
$380 
$300 
$200 
$120
31/7 Sun 7:30pm
Auditorium, Tuen Mun Town Hall
- With Chinese and English surtitles.
- Please refer to the ‘Extension Activities’ page for details of extension activities
- The running time of each performance is approximately 2 hours and 30 minutes including an intermission of 15 minutes.
Programme Enquiries︰ 2268 7325
Ticketing Enquiries: 3761 6661
Credit Card Telephone Booking: 2111 5999
Please click here for discount scheme details.
Monkey King Play Series:
Youth Troupe of the Peking Opera Theatre of Beijing and Li Baochun
Youth Troupe of the Peking Opera Theatre of Beijing and Li Baochun
