The Imperial Bells of China

A most colourful spectacular performance .Here's what I said for Artshub http://performing.artshub.com.au/news-article/reviews/performing-arts/lynne-lancaster/the-imperial-bells-of-china-251392 Bright, bold and colourful – we were transported to the world of ancient China – yet it still vibrantly exists today in this peformance. The Imperial Bells of China presented by the Hubei Opera Company is inspired by the exciting discovery (in an archeological dig in 1978) of bronze bells dating back roughly 2,400 years. The Imperial Bells of China is billed as an attempt to recreate country and court life of the Chu dynasty.Two screens were at either side of the stage with translations in English and Chinese and the narration was enthusiastically given in voice over in Chinese. The programme is divided into four 'chapters’. The opening segment Grandeur of Chu musically sounded quite Western in style, with its huge exultant chorus and possible Verdi influences . However there was an exotic atmosphere and hints of Beijing opera . Vivid atmospheric lighting was used with bold washes of colour. The many costumes were incredibly detailed – a visual feast. The set was a spectacular ‘palace’ and the huge bell set featured: three women playing the top three sections hidden behind the back and a male striking the larger deeper bells at the bottom (which sounded like church bells). There was also a stone bells set, zithers and others. The bells tinkled, chimed, sparkled and rippled, boomed and thundered, clanged and pulsated. We learn about the ‘eight tones’ and how in Chinese antiquity musical instruments were divided into eight tones depending on what the instrument were made of – metal, stone, silk, bamboo, gourd, earth, hide or wood. There is a solo for each of the ‘tones’ and you could 'see' (hear?) the fish dart and ripple in the pond in the Flowing Water stone chimes solo. The Clouds, bamboo flute, solo was exquisite. The Elegy of Ying, a porcelain gourd solo, was haunting and reflective, all leading to the combined Concert of the Eight Tones. The choreography is mostly formalised ritual folk dances including for the men martial arts and acrobatics (for example in The Military Exercise, which in some ways has allusions to the Bolshoi’s Spartacus with its sculptural posing ‘warriors’ and spectacular running split flying jumps and grande tours a la seconde). The Mountain Hunt scene with its throbbing drums was possibly similar to scenes from The Lion King. There was also a dance showing the cultivation of the land. The women were presented as beautiful and willowy. In Collecting Mulberry Leaves with its green lighting the corps de ballet of women is used similar to that of the great classical ballets like Swan Lake for example yet looked like a contemporary dance company (I was reminded of Alvin Ailey). Here the women carry baskets,some using long poles as well. They have stylized, spiky hand movements contrasted with flowing arms movements for the collection. In The Guan Ju segment the women in their white costumes are exquisite ospreys. In Tiny Waist in Act 2 they are like showgirls with bobbing peacock feathers competing for the emperor’s attention. This is contrasted with a delicate yearning love song, the Yueren song, for one of the concubines. Social comment and comedy is provided by the Song of Righteousness with the quartet of singers acting like Shakespeare’s Mechanicals or servants from Beijing opera, commenting on their betters. In the grande finale of the Imperial Banquet much is made of the special extra-extra long sleeves that flutter and snap, wave and weave in flurries of colour. The Imperial Bells of China was perhaps a bit cheesy and touristy in parts but still completely fascinating . Rating 3.5 stars out of 5 AusFeng Presents The Imperial Bells of China The Capitol Theatre Sydney