Shen Yun Brings the Tiger to San Francisco
Photo courtesy of
New Tang Dynasty TV
The Year of the Tiger is approaching. In the Chinese calendar, the current year of the calm and dependable Ox will soon (February 14) give way to the rebellious, unpredictable Tiger. Shen Yun Performing Arts' spectacular New Year celebration on the Opera House stage features song and dance from classical Chinese culture. The artists recount tales of simple pleasures or derring-do in a variety of scenes. From a celestial kingdom with angels in clouds to the Great Wall, a large company of dancers with elaborately constructed traditional costumes, different for each act, performs perfectly synchronized choreography to a live orchestra. Shen Yun's guiding principle thematically informs the show; to promote humanity's divinely-inspired cultural heritage in the face of a repressive society. The uplifting spirit of hopefulness shines through beautifully in each of the twenty-one acts.
These range from an ethnic dance routine and a Chinese fairy tale to a pilgrimage in search of Buddhist scriptures. The northeastern folk dance "Handkerchiefs" captures youthful energy flourishing and blossoming as the maidens twirl and toss their napkins. "Tibetan Dance of Praise" expresses the spirituality of Falun Dafa principles, which Shen Yun follows. "In a Miao Village” is a folk dance from one of China’s oldest tribal groups. In their ornate costumes -- with bells -- the dancers move in front of a stunning moving backdrop on a technologically advanced projection screen wide as the stage. With rice paddies in the background, the dancers use a “unique Chinese posture” as they feed through each other's lines in precise choreography, taking them along staggered entrances in smoothly alternating rows. "Wu Song Battles the Tiger" tells of a village hero who -- after drinking much sake -- chases a ravaging tiger onto the projection screen in clever animation. Then he returns to the stage with his quarry hanging from a stick.
The costumes are a show in themselves with elegant detailing and historical accuracy. “Mongolian Hospitality” presents dancers in persimmon dresses with broad gold hues and thick royal blue piping. They use household plates as castanets. In “Flowing Silk” young maidens in green, white and fuchsia colors wave their over-long “water sleeves” as they dance against a backdrop of a lake shore with cherry trees and a pavilion. All the costumes are gorgeous, and the dancers make them move with graceful symmetry.
Shen Yun's orchestra uses modern western and traditional Chinese instruments. For her solo “Saving the Predestined,” Xiaochun Qi plays the erhu, a two-stringed, bowed instrument, with grand piano accompaniment. The tune is sweetly melodic with a wailing weeping quality. Tenor Hong Ming's “Calmly Take a Look” uses pure highs to offer an optimistic message with words he composed. His thin but well controlled voice has good sustain and a beautiful vibrato: just the right amount to impress but not enough to overwhelm.
Mezzo-soprano Pi-ju Huang sings the hymn “Hesitate No Longer” with grandly soaring mid-highs and a pure sustain. With tenuous reverb she tells of “the awareness Dafa’s disciples are raising.”
The political message is clear. In “Nothing Can Block the Divine Path,” figures fly from the screen, leading to well coordinated physical entrances. Police persecute citizens. The announcer informs us that, “The injustice we just saw is still happening in China today.” Baritone Qu Yue sings “As the Red Regime sinks” with a strikingly pure voice and a well controlled tremolo.
Shen Yun continues through January 7 at the War Memorial Opera House, 301 Van Ness Avenue, San Francisco. The touring show then moves to San Jose and Sacramento. Tickets ($40 to $160) are available online at www.cityboxoffice.com or by phone at 415.392.4400. For more information please visit www.Shenyunperformingarts.org.