The 7th-century Buddhist monk Xuanzang trekked for 17 years and thousands of miles, traversing empires on foot and on horseback, to complete a self-directed religious and cultural fact-finding mission. Traveling along the fabled Silk Road from China to India and back again, he risked his life and freedom to gain knowledge that, in turn, he brought back to share with his homeland.
Xuanzang’s journey and written record of bridging East and West made him a national hero, a bold historical figure who’s been depicted in art, music, fiction, and film. In 2017, the Chinese National Traditional Orchestra combined those disparate forms to interpret his story as a concert drama, Xuanzang’s Pilgrimage. It makes its U.S. premiere at the Kennedy Center next weekend.
Presented by the China Arts and Entertainment Group, a state-owned entertainment company, Image China: Xuanzang’s Pilgrimage continues CAEG’s annual ventures to D.C. bearing the gift of a large-scale, live production that “introduces traditional and contemporary Chinese performing arts to audiences around the world.”
For the grand, multimedia production that includes over 100 actors, musicians, dancers, and performers, the Chinese National Traditional Orchestra enlisted acclaimed young talent Jiang Ying to compose the music, write the libretto, and direct. But before Jiang managed that massive undertaking, she first hit the road to follow in Xuanzang’s footsteps along his epic journey.
“Absolutely, I had to see and experience first-hand the places along the Silk Road,” says Jiang. “I wanted to be able to effectively portray the famous story, and to help bring the audience along through the places Xuanzang traveled — the terrain, the mountains, the difficult journey for Xuanzang, the special places and people living long ago.”
The production depicts those various locales through video projection, with the orchestra embodying a multitude of regions by playing traditional instruments specific to each culture. Led by Ding Xiaokui, the CNTO’s principal flute soloist, who acts and performs the starring role of Xuanzang, the show represents an extraordinary achievement in multitasking.
“As the world’s first concert in drama, it blurs boundaries and connects acting with playing music instruments,” says Jiang. “Integrating instrumental music performances with the drama, together with spectacular multi-media features, elaborate costumes, lighting, staging, and impeccable visual effects, we’re delighted to showcase the diversity, inclusiveness, history and rich heritage of Chinese traditional music.”
Image China: Xuanzang’s Pilgrimage runs January 25 to 27, at Kennedy Center Eisenhower Theater. Tickets are $70 to $200. Call 202-467-4600, or visitkennedy-center.org.
The holidays can be overwhelming, and that goes for all the ways you can celebrate the holidays, too. So we thought we'd help out by culling through the festivities to select a few of the very best. We'll do it again next week with a whole new crop of outings to consider for getting your holly jollies on.
THE HOLIDAY SHOW -- The Gay Men's Chorus of Washington is sure to touch and titillate you with this year's 44th annual year-end extravaganza, a program designed to celebrate the holidays around the world through a mix of eclectic songs enhanced by arrangements accentuating the beautiful melodies and harmonies as performed by the full chorus of more than a hundred, by one of the organization's smaller, select ensembles, or by a few standout soloists. Among the most inspiring of the GMCW's smaller ensembles set to perform is the GenOUT Youth Chorus, a group of budding singers from around the region. Sure to give a rousing, high-kicking performance is another GMCW ensemble, the 17th Street Dance Troupe. Even jolly ol' Santa will drop by to liven the mood, especially for those who've been more nice than naughty. Saturday, Dec. 7, and Dec. 14, at 3 and 8 p.m., and Sunday, Dec. 15, at 5 p.m. Lincoln Theatre, 1215 U St. NW. Tickets are $25 to $75. Call 202-293-1548 or visit www.gmcw.org.
In two very different plays currently on D.C. stages, two very different families rally around a grown son who's been the victim of a violent hate crime. While the Castros in John Leguizamo's The Other Americans at Arena confront anti-Latino bias in Queens, New York, the Benhamous of Joshua Harmon's Prayer for the French Republic at Theater J face rising antisemitism in Paris.
And while both plays are set in the recent past, both sharply reflect the atmosphere of this instant, where, at least on this side of the Pond, and according to FBI statistics, hate crimes against Jews and Latinos, among other groups, are on the rise. Not coincidentally, right-wing purveyors of hate are also ascending, now in the U.S., and in the Paris of 2016 that's depicted in Prayer.
Imaginative and powerfully delivered, the Washington National Opera's Macbeth is the opera to drop everything and see. Verdi's gorgeously dramatic distillation of Shakespeare's tragedy is already ever-so-accessible, the dark and swooping grandeur of his score the perfect medium for the tale's high drama and mystery.
Add director Brenna Corner's elegantly innovative vision and this is classical opera for the 21st century at its best: so good it needs no compromises. If you have even the slightest interest in seeing the real deal, this is the one for you. If you are already in, this will be a treasure trove of pleasures.
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