Hangzhou Theater Witnesses the Renaissance

By Qi Wenjuan

I witnessed the official birth of Hangzhou Theater in October, 1978. I had been a stage drama artist before I retired from stage and came to work as a staff member at the theater. Retrospectively, I realize what I witnessed there was a renaissance of its kind after the desolate years of the Cultural Revolution (1966-1976).

The project of Hangzhou Theater, situated in the heart of Hangzhou, was proved by late Premier Zhou Enlai. It was one of the two opera houses Zhou Enlai approved. The other one was the Capital Theater in Beijing. Hangzhou Theater remained one of Chinas best theaters for some time.

In the fall of 1978, representatives from theaters and troupes across the country convened in Hangzhou to attend a meeting sponsored by the Ministry of Culture. The representatives paid a visit to the theater and commented that it was one of the best theaters in the country. Many representatives immediately expressed their intentions to state performances at the theater after their visit to the theater.

Professionals were not the only people who were impressed by the grand theater. After it was unveiled in October, the theater instantly became the attraction to local residents. In the evening, families turned out and flocked in to view the modish structure. They wowed at what they saw: a spectacular foyer with huge, tall glass walls, pillars, crystal chandeliers, and spiral staircases on the either side.

My work at the theater enabled me to see a lot of artists and witness a lot of important occasions.

The debut production at Hangzhou Theater was a modern drama entitled “The Song of Loyal Hearts” staged by Zhejiang Drama Troupe. In memory of the late Premier Zhou Enlai, the drama was created and first staged by Beijing Peoples Art Theater after the 1976 downfall of the Gang of Four. The production caused a sensation in Beijing. It was a huge sensation in Hangzhou, too. There was such a demand for the show that some additional performances were staged in daytime. The bond between the audience and the artists was touching. Some audiences wept when seeing a veteran scientist received a telephone call from Zhou.

The first international performance at Hangzhou Theater was Coppélia staged by Matsuyama Ballet of Japan. The Japanese ballet company, founded and directed by ballerina Mikiko Matsuyama and her husband Masao Shimizu, had staged a Chinese ballet production called “White-Haired Girl” in the 1960s in China. The Japanese ballet company played an important part in promoting friendship between Japan and China and cultural exchanges between the two peoples.

The advance party of the Central Song and Dance Ensemble talked with me about the stage arrangements two days before for their Hangzhou Theater performances. In the evening of the day when the ensemble arrived in Hangzhou, I saw a woman, dressed in a dark red windbreaker, read the schedule on a backstage blackboard. By intuition,I guessed that she was Zi Huajun, a veteran dancer and a deputy director of the ensemble. I introduced myself and asked her to comment on the schedule. She said that she needed a full rehearsal before the performance the next evening. I made the arrangement accordingly at her request. The movie in the afternoon of the next day was canceled for the rehearsal. I was deeply impressed by her professionalism.

In the spring of 1981, the Oriental Song and Dance Ensemble came to Hangzhou. Their performances were a sensation. I watched their rehearsals and was deeply impressed by the professionalism of Wang Kun, the director of the ensemble. My backstage impressions of the troupes rehearsals were published in April 18, 1981 issue of Zhejiang Business and Life newspaper.

The jurors of the first National Golden Roost Movie Award came to Hangzhou to make their decisions on winners. It would be a huge event. The jurors were all veteran movie stars. One evening they came to watch a performance by the Oriental Song and Dance Ensemble. At the end of the show, audiences gave a standing ovation. Wang Kun and all the artists came onstage to take the curtain call. Unexpectedly, Wang Kun invited the jurors of the movie awards to come onstage to meet the audience. All the people cheered excitedly.

The theater has been the venue of performances by many celebrated Peking Opera Troupes. Over years, the theater has been the principal venue of the provincial theater festival. The opera plays selected from all over the province through preliminary competitions are staged here. I remember watching the show by Zhejiang Little Hundred Flowers Yueju Opera Troupe after its first visit to Hong Kong. The foyer of the theater teemed with congratulatory flower baskets and blowup photographs of the troupes reception in Hong Kong. The audience reacted most warmly to “Five Daughters Celebrate the Birthday” staged by the troupe that night at Hangzhou Theater. The troupe put on more impressive shows in following years at Hangzhou Theater. Today, it is a high-profile showbiz troupe at home and abroad. Hangzhou Theater witnessed its rise to national and international renown.

Hangzhou Theater has also witnessed the growth of young artists. I remember seeing the performances staged by graduates of Shanghai Dance School in the early 1980s. The teenage ballet artists showed highlights from international ballet classics. Of all the highlights at the premiere, “The Dying Swan” stood out. I remembered Xing Lili, the solo dancer of the school. After a morning show, I went backstage and saw someone in white prostrated on the floor. Approaching, I recognized Xing Lili. I asked if she felt uncomfortable and if she needed to see a doctor. She replied that she was practicing a bit after the performance to keep herself in shape. I was deeply impressed by her diligence and professionalism. I read of her in the media in following years as she rose to international fame. Now she is art director of Shanghai Ballet.

At Hangzhou Theater, I received many VIP visitors from home and abroad. I remember meeting with famous playwright Cao Yu and Jin Shan, the director of the Central Theater Academy. Accompanied by Shi Jin, the director of Zhejiang Culture Administration, the two iconic masters came to take a look at the theater. I showed them around. I was introduced to the VIP visitors that I used to be a drama artist. I was excited to meet the two. Cao Yu was so successful that nearly every drama artist in China had appeared in one of his dramas. Jin Shan had starred in many blockbusters since the 1930s. His appearance in a drama in 1956 in Beijing is one of my vivid memories. His book entitled “The Birth of a Character” had been a must for every drama artist in China during these years.

Hangzhou Theater was one of the best opera houses in China in the 1970s and 1980s. It still looks great after its refurbishment project in 2000, though, not regrettably, there are many better theaters in China now. Looking back, I am proud I was there at the theater witnessing the countrys renaissance of art and culture in these decades. I have precious memories of these colorful years and colorful performances. As the 60th anniversary of the Peoples Republic approaches, I can feel my heart warmed by these precious memories and the huge progress the country has experienced in all these years.