Theater veterans bring glory back to historic stage works in the hope of speaking to the next generations, Chen Nan reports.

For veteran actor, director and president of the Beijing People's Art Theatre Feng Yuanzheng, when one takes a classic off the shelf and puts it under the spotlight again, the stakes are higher than ever. It's not only about bringing the glory of the past to the present but also daring it to speak to a new generation.

In January, the established theater announced its latest initiative, the Classic Revival Plan, to revive and adapt some of Chinese theater's most iconic works.

The initiative's first production to be staged is Returning Home on a Snowy Night, originally penned in 1942 by Chinese playwright Wu Zuguang (1917-2003). The play was first performed by the theater in the 1950s.

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Featuring Feng as its artistic director and Yan Rui as director, the new adaptation of this classic play will premiere on April 25 at the Capital Theatre, home of the Beijing People's Art Theatre.

Revolving around famed Peking Opera actor Wei Liansheng, the play portrays how Wei experiences the peak of fame and the depths of despair. Eventually, his tragic love affair with Yuchun, a concubine of a bureaucrat, costs them both their lives.

"Wu's script is well-known, and I've been intrigued by it since I was a young actor," recalls Feng, 62. "There have been many adaptations, from movies to TV dramas. We discussed the idea of restaging the play for more than a decade. This isn't just a revival, it is a reinvention."

"Behind the scenes, a new cast, a fresh vision, and a director with a bold vision will breathe new life into a play that has endured for decades," he adds.

In 2012, the theatre's former president Ren Ming directed a rendition of the Chinese play by collaborating with the National Centre for the Performing Arts. Feng was one of the actors.

The theater delayed restaging the classic for years because of the challenges of finding the right leading actor to portray Wei. According to Feng, casting is critical to capturing the essence of the story. The role of Wei requires a unique blend of talent — acting techniques, life experience, charisma, and most importantly, naturally exuding the vibe of a traditional Chinese opera — that's not easy to find.

A few years ago, when Feng first saw Liu Heng, a Kunqu actor with The Northern Kunqu Opera Theatre, he immediately felt that Liu matched the image of Wei in his mind. Even though Liu had no experience performing in plays, Feng decided to train him to become this character.

In his transition from performing as a wusheng (martial male) in Kunqu Opera to playing a nandan (young male in the female role) in Peking Opera, Liu, 36, faced his first challenge — breaking away from the stylized performances typical of traditional Chinese opera.

Kunqu Opera and Peking Opera are both influential forms of traditional Chinese theater, but they differ significantly in style, performance techniques, history, and regional influence. Kunqu Opera is one of the oldest and most refined forms of Chinese opera, known for its delicate and lyrical musical style. Peking Opera, or jingju, features more energetic, fast-paced music often involving thrilling action scenes and large-scale spectacles.

"The director kept refining my lines," says Liu, who began studying Kunqu Opera at 11 and made his stage debut at 15. "In traditional Chinese opera, monologues have a certain rhythm and tone, but in modern theater, they need to be much more grounded and lifelike."

Actress Lu Lu, 28, portrays Yuchun and describes the love story as "fleeting and delicate".

Her portrayal of Yuchun draws heavily from traditional Chinese opera elements.

"After watching Kunqu Opera, I realized how uniquely traditional Chinese opera presents emotional scenes. The subtlety in body language and eye contact — where the heart, eyes, hands, and movements all play a part — is remarkable. Every aspect of the performance reveals the character's inner world, whether shy or bold. These small details speak volumes about the character's emotions," she says.

While the play features mostly young actors and actresses, the involvement of two seasoned performers, actor Li Hongtao and actress Liang Danni, helps uphold the theater's artistic identity, mentor the newcomers, and maintain overall performance quality, according to director Yan.

"The play not only depicts a tragic yet beautiful love story but also the turning wheels of fate and a yearning for a free life with dignity. This time, we aim to connect the past text with today's audience," says Yan, adding that the production will blend the aesthetics of traditional Chinese opera with modern theatrical techniques to create a poetic, rhythmic stage experience. "On stage, these living, vibrant characters must make the audience believe in them and step into their lives."

According to Feng, the second major revival will be Lao She's Rickshaw Boy, which will be restaged in July. This production will serve as a symbol of the theater's ability to maintain its classic works as dynamic and relevant for new generations. "We call plays like Rickshaw Boy 'museum plays', which refers to theatrical productions that are staged in a way that preserves their original form, without adaptation, reinterpretation, or modernization," says Feng, noting that the adaptation of Rickshaw Boy will be different from that of Wu's.

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The revival will replicate the play directed by Mei Qian (1916-2002), which debuted in 1957 at the Beijing People's Art Theatre.

"Like a museum preserves historical artifacts, a 'museum play' treats the original production as an artifact of the past, keeping it intact for the sake of historical accuracy and authenticity," says Feng. "The production team will retain the original set design, costumes and makeup, preserving the most essential performance style of our theater. It aims to fully showcase the classic charm of the theater's establishing days. As soon as the curtain rises, the audience will feel as though they are watching a production from that era."

Contact the writer at chennan@chinadaily.com.cn