San Francisco Opera is set to premiere "The Monkey King," an opera that blends the ancient with the modern in more ways than one. Adapted from the iconic "Journey to the West," a novel that's seen multiple adaptations, the production tells the story of the titular character. It marks an audacious attempt to captivate both Western and Eastern audiences. With a mix of Mandarin and English, the show aims to break barriers just as its rebellious main character does.
The production has been no small feat, with a reported $10 million poured into its creation. According to The SF Standard, this investment has gone into the intricate costuming, set design, and rehearsals, striving to capture the wild essence of Sun Wukong, the Monkey King himself. Costumes shimmer with fiery reds and yellows while prism-like metallic trims aim to evoke a sense of perpetual motion.
Matthew Shilvock, SF Opera’s general director, emphasized the significance of telling stories that resonate with the Asian American community. Shilvock told The SF Standard, "It is a privilege to be telling one of the great stories of Chinese literature on the American opera stage." This premiere also marks a milestone as it’s SF Opera’s first performance sung in Chinese, interwoven with English-language storytelling. "The Monkey King" is seen as a cornerstone for the company’s cultural engagement and an investment in its future diversity of storytelling.
In collaboration with playwright David Henry Hwang and composer Huang Ruo, the opera is a fusion of Western orchestral tradition and Chinese instruments, such as the pipa. Huang described his artistic vision for the opera in a statement per the SF Chronicle, noting, it's "not going to write a Western opera, or a Chinese opera, but I’m going to call it a magical Kung Fu opera." The production features the critical elements of opera with the added flair of Kung Fu fighting and magical puppetry.
The role of the Monkey King is diversely represented on stage, as Chinese-Australian tenor Kang Wang sings the part while a puppeteer and a dancer complement his performance to embody the superhero's multifaceted nature. Wang told the SF Chronicle that the role is physically demanding, akin to "a CrossFit session every day," reflecting the opera's immersive and dynamic approach to storytelling.
