Searching for Heroes in a Peking Opera Classic: The Orphan of the Zhao Family
By revisiting the Peking Opera classic, The Orphan of the Zhao Family, the GuoGuang Opera Company invites us to consider the true nature of heroism, while emphasising that each actor and actress on stage embodies heroic qualities through their craft.
Sense of Wander: ★★★★☆
The wails of the baby convinced the royal guard that Cheng Yin is hiding the princess's newborn in his medical box. Image courtesy of the GuoGuang Opera Company.
TAIPEI, Taiwan — Amidst the fervour of the 2023 Taiwan Traditional Theatre Festival, the GuoGuang Opera Company graced the stage with a renowned classic, The Orphan of the Zhao Family.
The tale unfolds with the Emperor of Jin State who bestowed his favour upon Tu An-Ku who, through the art of persuasion, led the emperor to partake in a most decadent indulgence. The Prime Minister, Zhao Dong, admonished Tu's wrongdoings. Yet, Tu's cunning prevailed, leading to the tragic death of 300 individuals in the Zhao family, including all family members and their servants.
In the midst of this tragic massacre, there was a glimmer of hope. Princess Zhaung Ji, daughter-in-law to Zhao and sister to the Emperor, was spared from the violence and whisked away to safety within the palace walls. While the baby inside the princess’s womb carried the future of the Zhao lineage, the looming threat of infanticide hung heavily over her and her unborn child. In this time of despair, a solution was proposed by none other than Cheng Yin, a trusted confidant and dear friend to the Zhao family.
As the fateful day arrived and the princess gave birth to a son, a desperate plan was set into motion. The princess feigned an illness that even the imperial doctors could not cure, thus calling forth those with the necessary skills to help. And among those who answered the call was none other than Cheng Yin, a herbal doctor and loyal friend to the Zhao family. Despite the danger and uncertainty that lay ahead, Cheng valiantly seized the opportunity to save the life of the newborn prince.
Yet, even in the face of such bravery and cunning, fate would not be so kind. The wail of the infant prince, concealed within Cheng's medical box, did not escape the royal guard who was at the command of Tu An-Ku. And though the guard had the power to end Cheng's mission and the life of the young prince, he instead chose to let them go free, and sacrificed his life.
With heavy heart, Princess Zhuang-Ji mourns the fate of her newborn baby, the sole heir of the Zhao family after the brutal massacre. Image courtesy of the GuoGuang Opera Company.
Suspecting that the baby had escaped from the palace, Tu An-Ku made a ruthless call: if the baby does not come forward within three days, all babies in the Jin State who were born on the same day as the prince would be put to death. Such was the iron-fisted rule of Tu, whose thirst for power knew no bounds and whose cruelty spared none who stood in his way.
Upon learning Tu's merciless ultimatum, Cheng Yin was faced with a daunting choice — to risk the life of his own son, or allow countless innocent infants to perish. In a moment of profound selflessness, Cheng hatched a plan that was both daring and heartbreaking.
Turning to his dear friend Gong-Sun Chu-Jiu, Cheng made a desperate plea for help. He revealed to Gong-Sun that he had a son, born on the same day as the orphan prince, and that he intended to offer up the life of his own and his son in order to save the lives of the newborn prince and other innocent babies. But the wise Gong-Sun, in his seventies and knowing that he was too old to raise a child, proposed a daring alternative: to turn himself in so that Cheng could attend to the prince in secret.
It was then revealed to Tu that Gong-Sun had been harbouring the orphan prince. Tu ordered the execution of both the child and the elderly man. In a cold and calculated display of power, Tu snatched the helpless infant from Gong-Sun's arms and callously hurled him to the ground.
Cheng Yin, who had watched in horror as his own son laying dead at his feet, was consumed with grief and rage. For a moment, he urged to seek vengeance for the loss of his child, but he also knew that to reveal the truth of the orphan's survival would make his son’s sacrifice meaningless. And so he wept, alone in his sorrow and weighed down by the terrible burden of his secret. In this particular scene, the themes of self-sacrifice, loyalty, and righteousness are brought to life through the masterful artistry of the lead actor, Tang Wen-Hua. His nuanced and intricate portrayal of these values, as exemplified by the Ma style performance that he had inherited from his mentor Hu Shao-An, left a profound and lasting impression on me.
In the court, Tu's eagerness to find the baby of the Zhao family is palpable. Cheng Yin and his friend Guo-Sun Chu Jiu stand before Tu and navigate the precarious situation. Image courtesy of the GuoGuang Opera Company.
In the aftermath of Tu's brutal order to kill both Gong-Sun and Zhao's orphan, Cheng Yin is left to mourn the loss of his own innocent son, who was callously thrown to the ground. Image courtesy of the GuoGuang Opera Company.
When being told that he will receive monetary reward for turning his friend in, Cheng asked Tu instead to take his “son” — who is in fact the prince — under his wing and become his adoptive son.
Fifteen years later, the orphan prince, now called Cheng Wu, had grown into a well-educated man with excellent martial skills. With the passing of the old emperor and the ascension of a new one, General Wei Jiang returned from his fifteen-year post guarding the state border and learned of the tragic fate of Zhao's family and the orphan's death. He invited Cheng to his home to test him, criticizing Cheng for betraying his friend and whipping him heavily. But Cheng, undaunted and laughed out loud, spoke the truth and the General apologised to him. They then hatched a plan to capture Tu.
In a poignant scene, Cheng showed Cheng Wu the book he had illustrated, depicting the tragic events that took place fifteen years ago. As Cheng wept for his own son, the prince learned the truth about his past. Cheng then arranged a banquet for Tu, secretly inviting the General and the Princess. When Tu arrived, he was met with a shocking revelation — his adoptive son is actually a member of the Zhao family. In a moment of reckoning, justice was served as Tu was brought to account for his heinous actions.
The Orphan of the Zhao Family is a timeless masterpiece that embodies the virtues of unwavering loyalty and righteousness. In a world where power struggles and moral dilemmas abound, the characters must navigate the complex choices that loyalty and righteousness demand. Ultimately, their journey leads them to the brink of sacrifice, where they must weigh the value of their own lives against the greater good. In this story, the cost of sacrifice extends beyond Cheng, his innocent son, and Gong-Sun, to encompass the life of the guard, the right of the princess to raise her child, and even the unknowing sacrifice of the orphan, who grew up under the wings of the person responsible for his family's demise.
The Orphan of the Zhao Family is also the final performance staged by the troupe as part of its three-day program “Who are Heroes?” In response to the theme of the 2023 Taiwan Traditional Theatre Festival “Hero · Hyperspace”, Wang An-Chi, Artistic Director of GuoGuang Opera Company, handpicked classic repertoires from Chinese opera, including Princess Baihua and Holding the General's Seal. Through these timeless classics, Wang intends to prompt the audience to reflect on the meaning of heroism as they marvel at the acrobatic feats and immerse themselves in the story. The actors' martial prowess, in particular, also suggests the idea that every performer on stage is a hero in their own right.
The Orphan of the Zhao Family is not only a masterpiece of Chinese traditional theatre, but also a poignant moment for two renowned performers. Liu Hai-Yuan, a talented Peking opera actress, graced the stage for the last time as Princess Zhuang-Ji, as she has decided to dedicate her time to teaching. Likewise, Tang Wen-Hua, the lead actor who played the role of Cheng Yin with his expert command of the Ma style, took his final bow as he transitions to directing rehearsals.
Both Liu and Tang’s contributions to the development of Peking opera in Taiwan will be remembered by audiences and fellow performers alike, as actors and actresses par excellence are testament to the enduring power of theatre that such stories continue to captivate and move audiences centuries after they were first written. And The Orphan of the Zhao Family is a shining example of this tradition, as well as a reminder of the deep wells of emotion and meaning that can be found in the art of performance.
Upon meeting Cheng Yin, General Wei Jiang discovers the astonishing truth that the infant Zhao Wu, who was thought to have perished in the Zhao family massacre, is in fact alive. Image courtesy of the GuoGuang Opera Company.
The Orphan of Zhao Family was staged at the Taiwan Traditional Theatre Centre on April 30, 2023. The performance is part of GuoGuang Opera Company’s program “Who Are Heroes” planned for the 2023 Taiwan Traditional Theatre Festival.