based on an ancient Chinese legend about a man named Xu Xian who unknowingly falls in love with a snake spirit named Bai Suzhen, was one of my most anticipated performances at the Fringe. The legend originates to the 9th century, but the story has shifted over the years to suit the changing attitudes and tastes of its audience. This version ends a little happier than some depicted – which this soft girl was grateful for – but it was each element of the production itself made this performance unforgettable to me and the nearly-sold out audience.
A band dressed in black sat in the corner with a vary of traditional Chinese instruments, including from what I could see, an erhu, gong, dizi or reed pipe, lute, paiban and several types of percussion instruments. Many of them would play two of more of these instruments throughout the performance and set the mood and tempo for each scene. Performed in Mandarin with English subtitles, the cast were immaculately dressed with the exaggerated make-up and extravagant headdresses traditional to the operatic style.
Their high melodic tones were beautiful, of professionally quality, carrying with them the right emotion of the scene in cohesion with the musicians. With delicate light steps, the performer’s appeared to glide across the stage. A fight scene between Bai Suzhen and sprits garden a mountain could have ben clumsy, however, it was was choregraphed beautifully, each performer’s awareness of the stage, their own body and other�.