Date: May 6, 2010
Location: The National Centre for the Performing Arts (The Egg), Beijing.
Background. The story of Go West is set in the middle of Qing dynasty, during a period when trade routes between China and Russia were significantly expanded. Chang Yuqiao (常雨桥), a honest sesame oil trader from Shanxi, got into trouble when one of his employees shirked and mixed lower grade oil into top grade oil. To save his reputation, Chang recalled, repurchased, and set ablaze all the bad oil. That act put a significant dent to Chang’s finances, and just as his business was running to the ground, Zhong Xueer (钟雪儿), an old enemy-turned-trusted confidant, offered her helping hands, and when an old friend learned of Chang’s plight, he offered his help, eventually turning around Chang’s fortunes. The story highlights the comradeship of Shanxi traders – a virtue that continues to this day.
Performance. Theatricality of this new production is not subtle: this is a modern production with complex lighting schemes and a colorful array of costumes. Lighting designer Ma Lu (马路) provided a rapidly changing series of colors, painting the set into shades of red, blue, yellow and other colors. In the scene in which Chang’s inventory was burned to the ground, a glowing red light was used to flood the stage, thereby casting Chang’s fortunes to a state of temporary filth. The singing by Yu Kuizhi (于魁智) was impeccable, and he was able to go through Chang’s difficult top notes with ease. When Yu sang “号规如山” / “our brand rules are everything” with authority and regal power, he left no doubt that the corner-cutting employee was not going to get a free pass for his mistake. Li Shengsu (李胜素), who are often partnered with Yu in Chinese opera productions, sang the role of Zhong. In the stanza “往事历历在眼前” / “imagery of the past rolls in front of my eyes”, Li sang with conviction and panache, and hit a lyrical stride so much so that she seemed capable of doing just about anything. The rest of the cast was solid, including Zhu Li (朱丽), who sang the role of Chang’s mother with sheer confidence. Dramatist Zhang Xiaoya (张晓亚) has crafted an accessible human story, and prudently stayed clear of the burden of complex imperial history. The way the stage is designed – with simple and readily transportable elements – means that it would likely travel to reach a larger audience. If audience reception here in Beijing could serve as any guide, the larger audience would most certainly receive the new production with delight.