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.
Xuanzang
“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.
Little by little, year after year, from one season to the next, there have been some subtle yet certain shifts in programming among local classical music organizations -- in both good and not-so-good ways, depending on whether you like, say, holiday sing-alongs come Christmastime. If you do, well, good for you, but boo hoo for the rest of us, because that's definitely on the uptick this season, as in previous years. Similarly, if Halloween is more your jam, you're also in luck, because there's also been a slight increase in the number of eerily inspired, scary-themed shows.
There's also more diversity all around, and in multiple senses of the term -- from slightly more female composers with works being performed around town, to more genre- and boundary-pushing works and programs overall, to seemingly more out, LGBTQ-identified people in this particular genre.
Metro Weekly magazine was barely a year and a half old when, in 1995, we were offered the chance to interview — and photograph — Broadway legend Carol Channing, then appearing at the Kennedy Center in Hello, Dolly! that fall. Two moments from that experience stand out, the first at the photo shoot with Annie Adjchavanich.
We'd set up a black velvet backdrop in the Hall of States and were waiting for Miss Channing to arrive. When she finally swept in, she looked radiant. Except… she refused to remove her enormous sunglasses. Indoors.
I begged her to take them off, but she firmly declined. "I don't have my eyelashes on," she said. "You are not seeing me without my eyelashes!" And that was that — sunglasses it would be. The result was a cover that was both thrilling (Carol Channing!) and oddly surreal (Carol Channing in giant sunglasses!).
A cute, warm-hearted adaptation, Jocelyn Bioh's Merry Wives grabs Shakespeare by the breeches and bum-rushes him into the 21st century and the boisterous mix of Harlem's West African community. Although the Bard's play is certainly here (the program notes tell us Bioh has kept more than 90 percent of the language), there is such a strong sense of the African performance tradition that it feels quite a bit more like the lively telling of a traditional fable. There is a certain charm to this concept and execution, but it also brings a few challenges.
Right out of the box, one of the biggest is the accents. There is no question that this apparently American-born-and-bred cast does a stellar job with them, but there is also no question that it's often hard to catch some of the language Bioh has so painstakingly preserved. It may bring a pleasing authenticity, but it was up to director Taylor Reynolds to test-drive it for clarity. It isn't bad enough to get in the way of the conversational gist per se, but for those hoping to be transported on flights of aural precision, this blurring of the edges may cause some heartburn.
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