REVIEW: Jinkun Chinese Arts’ The Covetousness and Chunxiang’s Schoolroom Prank – Brighton Fringe
These two gems which took place recently in Brighton Fringe of gracefully revitalised rare Chinese opera, offer a surprisingly spectacular style that wildly differs from any traditional expectation of the Western form of the genre. Both pieces are taken from larger operas created by the Ming Dynasty composer Tang Xianzu (A.D. 1600).
These two separate productions bounce with energy in the intimate setting of The Bubble at The Rotunda Theatre in Regency Square. A vivacious vitality is alive in the artistry of the performances. This is the poetic Chinese Opera formula of Kunqu, a highly physical practice.
The scene is best set by a look into Jinkun’s extraordinary Fringe workshops, delivered by the cast to explore the Kunqu essentials. Hands on participation reveals the art form’s formula: every graceful gesture carries rhythm, every step holds a story, different roles have signature movements and faces are painted in delicate lines, shapes and a multitude of colours to create the expressive operatic faces of one of the world’s oldest performance traditions.
A fantastical ancient myth combines with the artform to create a weird and wonderful piece in The Covetousness. This tale focuses on traditional characters: Xiafoan a robust female ‘huadan’ (charismatically realised by performer Wanjin Li) and the magnificent painted face ‘hualian’ male role of The Fourth Prince (robustly presented by Songyuan He). There is an end goal to enter the kingdom of the ants.
The tale is from a rarely performed traditional opera piece, The Nanke Dream, involving a female warrior in search of an abandoned maiden, an ant prince, an army of 100 carefully selected ant warriors and further surreal elements. It is as sweet as surreal, as it is profound. And gives the perfect opportunity for enjoyably extravagant entertainment.
A simple two-hander, this piece is bursting with the vibrancy of all its elements: dramatic Kunqu colour and movement, the inimitable unusual Chinese Opera style and dialogue performed in Chinese with English and Mandarin surtitles (projected above this visually stunning performance of an ancient Chinese piece.
A soundtrack of Chinese flute and a music pad of various tympanic sounds may resonate happily with those who remember the madcap 70’s TV show ‘Monkey’.
Costumery, make-up and head gear are alike fantastical and gem-like: vivid colours, exotic flower motifs, swathes of silk sleeves put to excellent dramatic use. This is a marvel! The various elements of this revival of a traditional piece are deliciously impactful visually, musically and the quirky storylines which really captivated.
The success of this piece is elevated one step beyond by the casting. Wanjin Li is robustly vivacious as Xiaofan, a female warrior character or huadan. Equally robust and vital is Songyuan He’s portrayal of the vivid red-painted face hualian character of The Fourth Prince.
The performances are equally compelling in the case of Jinkun’s companion Brighton Fringe piece: Chinxuang’s Schoolroom Prank. This three-hander is full of fun and quick wit, performed in Chinese with English surtitles projected above this visually stunning performance of a simplistic schoolroom tale.
The drama is a simple case of character conflict beginning with the establishment of a school room scene with the appearance of a traditional Chinese, impressively long-bearded, elderly and serious tutor; Mr Chen Zuiliang (perfectly presented by Songyuan He). Into the mix arrives the exquisitely colourfully bauble-bedecked mischievous handmaiden Chunxiang (delivered with joyous high energy by Wanjin Li). A conflict ensues that many a student will understand at a point of pain! In a rigid, disciplined manner a long and solemn poem is to be studied and recanted. And here the fun begins as Chunxiang endlessly and artfully endeavours to avoid the pain and fulfil her penchant for play.
An energetic to and fro between our key duo is beautifully offset by our third arrival of demure and beautiful princess Du Liniang. Lil Soap, aka Corey Lyu, perfectly powers this male dan role in traditional classical cross-dressing: A stroll in the park for Soap the former drag artist. Self-possessed elegant eye rolls and subtle sarcasm are perfectly executed in response to the antics of the naughty servant. The audience picked up on this complementary character’s comedy, generating much laughter.
Sound and vision are paramount, as in the partner piece The Covetousness: the Chinese dialogue and operatic style is interesting, varied and at times exotically strange to the unaccustomed ear.
The female characters’ costumes and perfectly painted traditional make-up are truly splendid, with a cascade of vivid golden yellow and pure white silks bearing traditional chrysanthemum motifs.
This performance, the workshop, the tireless pre-production research and restoration work by Jinkun Chinese Arts make for a winning combination of true rarity.
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