NCPA Premieres First Original Comic Opera With Cyberpunk Journey to the West

Wang Xiaoying and the Cyberpunk Reimagining of Journey to the West

Cyberpunk Aesthetics and Theatrical Innovation

Moving away from traditional interpretations of the classic Chinese novel, the NCPA’s production embraces a distinct cyberpunk visual style. Director Wang Xiaoying noted the difficulty of staging such a well-known story, stating, Since the image memory carved in the audience’s mind for many years is difficult to counter, we choose to avoid it and cannot compromise with the stereotype. The creative team utilized modern stage technology, including circular screens and elevating platforms, to depict the shifting realms of heaven, earth, and the underworld.

The costume design, led by Peng Dinghuang, integrates mechanical armor with traditional facial makeup. Character designs emphasize this futuristic collision: Sun Wukong sports metallic armor fused with a monkey king mask, while Tang Seng is outfitted with a transparent monk’s hat and white robes accented by gold, intended to symbolize the fragility of the human body and the initial spark of Buddhist nature. Makeup designer Shen Miao further integrated traditional opera elements into Baigujing’s headwear to bridge the gap between historical heritage and contemporary aesthetics.

Hao Weiya and the Vocal Transformations of Baigujing

Musical Composition and Character Depth

Composer Hao Weiya anchors the production with a 32-piece chamber orchestra, conducted by Lai Jiajing and featuring the Central Ballet Troupe Symphony Orchestra. The score blends modern orchestral techniques with traditional Chinese instruments like the bamboo flute, sheng, and guzheng. The production also incorporates elements of traditional opera, delegating the physical combat sequences to wusheng (martial arts) actors to maintain authenticity in fight scenes, supplemented by shadow puppetry projected on the circular screens.

The character of Baigujing serves as the vocal centerpiece of the show. Performed by Zhang Wenqin and Zhang Yi, the character requires four distinct vocal transformations: a bright coloratura soprano for the demon’s本体, delicate folk singing for the village girl, a mezzo-soprano resonance for the old woman, and a coarse, low-register performance for the old man. The script by Wang Yuanfei attempts to humanize the demon, with the aria Ah, a Piece of Moonlight revealing the character’s backstory as a demon trapped in a cycle of desire.

Li Jin and the Production Challenges at the NCPA Art Creation Center

Performance Schedule and Creative Challenges

Li Jin, director of the NCPA Art Creation Center, described the project as one of the most difficult to bring to the stage in recent years. Composer Hao Weiya noted that while the genre has historical precedents like the 1950s work Marriage of Xiao Erhei, the form has remained rare in China. The creative team aimed to extend the comic opera tradition while balancing humor and philosophy.

Liang Yufeng and the Cast Rotation for the Beijing Arts Centre Performances

The initial run at the National Centre for the Performing Arts continues through July 20. Following these dates, the production is scheduled to move to the Beijing Arts Centre for three additional performances on July 25 and 26. The cast will rotate for these upcoming shows, with a new group of singers including Zhang Yi, Zhu He, Xue Wencong, Zhou Xun, and Zhao Ming taking over the lead roles.

Sun Wukong actor Liang Yufeng noted that the goal was to avoid mere mimicry. The director told me on the first day of the group that I must not learn the monkey shape and ignore the character, because no matter how well you play it, you cannot surpass Liu Xiao-ling-tong, Liang said. Instead, he focused on the character’s internal conflict and sincerity.

Sources: CRI, xinruipiao.com.