Date: January 2, 2010
Location: Changan Theater, Beijing.
Background. River Lookout, written by playwright Guan Hanqing (关汉卿), is basically a comedy drama featuring plenty of witty and verbal interlocutions. It details the story of Tan Jier (谭记儿), who has been hiding inside a Taoist Abbey to avoid an unsolicited paramour. One day she meets Bai Shizhong (白士中), the nephew of the abbey’s leader. They instantly fall in love, elope but run into the fury of the paramour, the aristocrat Yang Yanei (杨衙内), who obtains forged imperial documents seeking his competition’s — i.e. Bai’s — head. Furthermore, he manages to smuggle from the Imperial Palace a gold medallion which allows him to take anybody’s head — in this case, Bai’s. Upon learning of Yang’s murderous plans, Tan dresses as a fisherman at the River Lookout, gets Yang drunk, and steals from Yang the forged documents and the golden medallion. When Yang’s atrocious plan is finally unveiled, Yang is thoroughly embarrassed and disgraced, while Bai and Tan live happily ever after.
Performance. Tan Jier is a character full of vivacity and wit, and is most famously portrayed by the Zhang-clan (张派), which combines the velvet luxury of Mei (梅) and the fluidity of Cheng (程), and favors an agile coloratura delivery. The artistry of the Zhang-clan is best represented by none other than Wang Rongrong (王蓉蓉), an exhilarating performer whom I’ve seen a few times last year: as 武则天, as 吕雉 in 《下鲁城》 and as 阿庆嫂 in 《沙家浜》. The evening hits a number of euphoric highs, including a spectacular series of top notes in “见狂徒不由我怒满胸怀” / “Ablazed with anger when I the maniac encounter” and “妾身自有锦囊计，管叫他海底捞月空自欺” / “your wife has the perfect plan, to foil his and his self-serving delusions” (my translations). When Bai first runs into Tan at the abbey, Tan expresses her affection for Bai with a subtle poem:
愿把春情寄落花，随风冉冉到天涯。君能识破凤兮句，去妇当归卖酒家。/ “My love shall etch with falling flowers, which shall flutter to the end of the world. If sire can decipher this poem, yours truly shall follow.”
When the first word of each verse is put together, a phrase reads: 愿随君去 / “I shall follow you, sire.” Ecstatic over Tan’s response, Bai reverberates with an equally crafty missive:
当垆卓女艳如花，不负琴心走天涯。负却今朝花底约，卿须怜我尚无家。/ “She is gifted as she is ethereally beautiful, but does not mind traveling with the poor scholar. The lady shall have pity on this sire.”
Without delving too deeply into the historical context, the response smartly echoes the historical context brought forth by Tan’s. More significantly, the first words of the verses read: 当不负卿 / “I shall never let you down”. This poetic interchange basically sums up to an ancient analogy of a girl’s “Yes I do” after a guy’s proposal, followed by the guy’s promise of “I won’t let you down”.
Wang’s performance lights up the house, which evidently includes a lot of her rabid fans. Time and again the whole crowd stands on its feet, roaring with approval and completely awed by Wang’s vocal agility and dramatic acuity. Bao Fei (包飞) delivers a strong performance as Bai, although he sounds overwhelmed especially when juxtaposed against Wang’s much more powerful, confident voice. Yang is played by Sun Zhen (孙震), a fine, young actor with plenty of comedic genes who brings down the house with his recitative in the penultimate scene. The imperial symbol is signified in this production by a sword instead of a gold medallion. Depending on the troupe or the literature source, one may find different objects used as this imperial symbol, but that’s a minor detail that hardly gets in the way of the story flow.
The only letdown of the evening is perhaps the lack of a second – and, in my opinion, very much deserved – curtain call. This oversight is partially due to the end time (just after 10pm) and much of the crowd shooting for the nearest exit in a snowing evening in Beijing. Regardless, this wonderful performance marks a great start to my 2010 season, which hopefully will be just as good as, if not better than, 2009’s. Happy new year to all!!!