Editor’s note: “In Theater” brings you into the world of performing arts. Here, you can dive deep into musicals, dances, plays and other performances being staged in China and pick the brains of the brilliant artists.
Chang’an – modern-day Xi’an in northwest China’s Shaanxi Province – was the capital of the Tang Dynasty (618-907). A new musical, which recently premiered in Beijing, brings the ancient city to life on stage, reviving the grandeur of one of China’s most prosperous eras.
Bringing the cultural splendor of the Tang Dynasty to life
“The Longest Day in Chang’an” made its debut at the Beijing Tianqiao Performing Arts Center on February 14. Adapted from a novel of the same name, the musical follows Li Bi, deputy minister of city security, and Zhang Xiaojing, a former death row inmate turned commander, as they race against time to save the city within 24 hours.
Hu Xiaoqing, the show’s director, hopes the production will offer audiences a deeper appreciation of Chinese culture through its stage design, costumes, music, traditional dances, martial arts and the time-honored Qinqiang Opera, which originated in Shaanxi Province.
“During the Tang Dynasty, Chang’an was a global hub where people from all over the world gathered. So, we explore different musical and dance styles here. I think this is about us transcending our limits,” Hu said.
Mao Haifei, who plays Zhang Xiaojing, shared with CGTN that he visited Xi’an while rehearsing for “The Longest Day in Chang’an” and was deeply moved by its rich history and vibrant culture.
“I went to the tourist spot called Datang Everbright City,” Mao said. “Although I knew it had been renovated, I could really feel the splendor of the Tang Dynasty.”
A French actor in a Chinese production
One of the production’s highlights is the participation of French musical theater actor Laurent Ban.
Ban plays Ge Lao, the mysterious ruler of Chang’an’s underworld, a character of Gaulish origin in the musical. Known for his roles in French musical “Mozart, l’Opéra Rock,” Ban takes on the challenge of performing entirely in Chinese, even delivering lines in Qinqiang Opera.
“Acting in Chinese totally destroyed my way of acting in French,” he admitted. “As I always say, I don’t like staying in my comfort zone. I really wanted to try something very hard.”
Hu revealed that incorporating Ban’s theatrical background added a new layer to the show.
“This musical has an international appeal while maintaining a distinctly Chinese style, which allows for a lot of fusion. We wondered if any French theater elements could be blended with the Chinese style.”
The idea eventually took shape in the number “Le Chef,” which features lyrics partially in French and musical elements inspired by French theater traditions.
Ban expressed his eagerness to continue learning Chinese and working on future projects in the country.
“If it works this time, I’ll keep improving. Over time, I hope to learn more and more Chinese. I’d love to collaborate on new projects and creations,” he said.
Having first visited China around 20 years ago, Ban has witnessed the country’s musical theater industry evolve.
“I can really see the difference,” he told CGTN. “I’m really surprised by because I can see how hard-working the Chinese people are… I have some great singers and artists on stage with me. For now, what I really love is watching them work and trying to be at a good level.”
The rise of Chinese-style musicals
Chinese-style musicals have been gaining traction in the country’s theater scene in recent years. Hu believes this trend will only continue to grow.
“These musicals tap into the very essence of our culture,” she said. “When we hear Chinese music on stage, it creates a powerful emotional resonance… Our original musicals must tell our stories in a way that is deeply rooted in our own emotions.”
Mao hopes “The Longest Day in Chang’an” can eventually reach audiences beyond China.
“My lifelong dream is for one of the musicals I perform in to make it to Broadway or the West End, so we can share our Chinese story with the world,” he said. “That would be my greatest honor.”
Hu echoed the sentiment, emphasizing the importance of learning from global theater while staying true to Chinese storytelling.
“We must not limit our vision to just our own country. We need to seek out better ideas, learn from how others tell their stories, and find ways to strengthen ourselves. I truly believe we will continue to grow,” she said.
Videographer: Guo Huakang
Video editor: Guo Meiping
Cover image: Yu Peng