Now at Hong Kong Cultural Centre Grand Theatre
Review | Dance drama Wing Chun has brilliant fight scenes, outstanding lead, confusing narrative
Ip Man is portrayed brilliantly by Chang Hongji in a high-energy martial arts and dance show that idealises the kung fu master’s life
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Performing arts in Hong Kong
A scene from a special Hong Kong edition of the dance drama Wing Chun, performed by the Shenzhen Opera and Dance Theatre. Photo: courtesy of LCSD
Natasha Rogai
Published: 12:47pm, 25 Nov 2024Updated: 1:26pm, 25 Nov 2024
Created in 2022, dance drama Wing Chun has been a smash hit in China and overseas, with hundreds of performances in dozens of cities. Demand for tickets in Hong Kong was so high that extra dates had to be added and all performances were sold out.
It is easy to see what has made the production such a success.
It is a big, visually striking show, with some exciting martial arts sequences and an outstanding central performance from Chang Hongji as legendary kung fu master Ip Man, or Yip Man – the alternative spelling that the production opts for.
That said, other recent dance dramas from mainland China seen in Hong Kong – Mulan earlier this year, Tide of Era in 2023 – were stronger artistically and more coherent, while equally entertaining.
Han Zhen and Zhou Liya, jointly billed as “chief director and choreographer”, were also responsible for Mulan, and certain devices are reminiscent of that production.
These include clever use of a revolving stage and employing an object of emotional significance. Here the signboard saying “Wing Chun Academy”, which Ip carries everywhere, and the jacket his wife Cheung Wing-sing lovingly sews for him create touching moments.
A scene from the special Hong Kong edition of dance drama “Wing Chun”, performed by the Shenzhen Opera and Dance Theatre. Photo: courtesy of LCSD
Like Mulan, the piece is theatre rather than dance. A lovely lyrical duet for Ip and his wife, played by the charming Xu Tianhui, is almost the only passage of pure dance. It lacks Mulan’s distinctive overall artistic signature.
This is perhaps not surprising, with no fewer than seven choreographers, including Han and Zhou, plus several martial arts consultants listed in the house programme. The credits projected at the end of the show go on almost as long as the ones for a Marvel film.
What really makes the production stand out is the martial arts. Cinematic in style, the scenes are skilfully constructed and brilliantly executed.
They include two street fights in which Ip confronts a gang of thugs who are preying on the local community, and an extended sequence in which he fights and defeats the leaders of four different schools of kung fu in turn before taking them all on together, ultimately winning the right to set up his own academy.
The last of the individual duels with the tai chi master is especially spectacular.
The main problem with Wing Chun is a confusing narrative which ultimately fails to generate sufficient emotional impact.
Feng Shuangbai’s script weaves together two plot strands: the story of how Ip pioneered wing chun in Hong Kong runs parallel to that of a film crew making a film about Ip in the 1990s.
Although the idea is interesting, the execution falters. Every time Ip’s story starts to build momentum, this is interrupted by switching to the film crew sequences which are rather repetitive.
The protagonist of this plot strand, Da Chun, who is portrayed appealingly by Feng Haoran, is supposed to be pursuing his dreams in an echo of Ip’s perseverance. But it is not clear what those dreams actually are – does he aspire to be a filmmaker, an actor, a martial artist? More detailed surtitles might help.
Like the iconic Ip Man films made in Hong Kong from 2008 onwards, notably those starring Donnie Yen, who studied wing chun with Ip’s son to prepare for the role, Wing Chun presents an idealised picture of a humble yet heroic figure who embodies every virtue.
Members of The Shenzhen Opera and Dance Theatre company perform in a scene from Wing Chun. Photo: courtesy of LCSD
The real Ip (1893-1972) was a more complex character who lived during a momentous era in China. He first came to Hong Kong aged 16 to study at St. Stephen’s College, returning to his hometown, Foshan, at 24 where he joined the police.
A member of the Kuomintang, he left China for Hong Kong after the People’s Republic of China was established in 1949. His wife came with him, but in 1951, a trip to Foshan left her stranded when the border with Hong Kong was closed. She died in 1960 and Yip never saw her again, although their sons were eventually reunited with him.
Wing Chun deals with Yip’s life in Hong Kong after he settled here in 1950. It focuses on his struggles to establish a wing chun academy, how he wins respect in the community by standing up for the victims of thugs running a protection racket and finally gains acceptance from the martial arts fraternity.
Neither his history with the Kuomintang nor his addiction to opium in his later years are mentioned, while his wife’s return to China is ascribed to illness, with the implication that their tragic separation was because of her death.
The Shenzhen Opera and Dance Theatre company was founded in 2018, and on this showing, its ambition and energy mirror those that have taken Shenzhen from a backwater town to a thriving city of 18 million in just a few decades.
The designs – sets by Hu Yanjun, lighting by Ren Dongsheng, costumes by Yang Donglin – are excellent and the whole troupe performs with admirable discipline and infectious enthusiasm.
As Ip, Chang is the glue that holds the show together. His dancing is equally impressive whether tenderly partnering his wife or performing thrilling feats of martial arts, and his acting is heartfelt and affecting.
The production was publicised as a “special edition” for Hong Kong, although what this entailed was unclear other than a new song by Cantopop legend George Lam being added.
An upbeat, anthemic number, it was used to accompany the curtain calls and had the cast as well as the audience clapping along.
Another Hong Kong contribution came from conductor Fung Ka-hing and the Symphonic Pops Orchestra, who gave a fine rendition of Yang Fan’s well-crafted score.
“Wing Chun”, Shenzhen Opera and Dance Theatre, Hong Kong Cultural Centre Grand Theatre. Reviewed: November 22.
Still hoping for some SF dates.
Models walk the runway at a fashion show of Shenzhen designs prior to the promotion event. [Photo provided to chinadaily.com.cn]
