Drama
CCI's early attempts
CCI did not have the expertise in theatre and did
not attempt any project in that field until 1984
when it presented Chinese Cabaret: Cold Stone
and the Water Flowing, an original work by Paul
Warner and Peter Melnick. The work was inspired
by Chinese Bronze Age courtship poems. It combines
those ancient lyrics with a musical score for a
saxophone, percussion and keyboards. Using the striking
images contained in the poems, the piece attempts
to capture, from a woman's point of view, the changing
phases of a relationship.
It was staged at its gallery facility at 272 Tremont
Street inside the Metropolitan Center, now called
the Wang Center for the Performing Arts. A staff
member, Glenn Bravermann, was somewhat knowledgeable
in lighting. He and another young man worked on
the set and lighting. They successfully transformed
the spacious gallery (now the Wang Center's Metropolitan
Room) into a world of poetry and drama. The space
was filled with audience every night during its'
run (November 9 to 11, and November 17 to 18, 1984).
This new experience excited us a great deal.
The President proposed to the Board of doing a
theatre production. The Board was dismayed. The
Trustees were not prepared for such a project which
was not within the scope of CCI's programming. Mostly
they worried about the costs and human resource.
The president's rationale was; "Our mission is to
promote understanding and appreciation of Chinese
Culture. Theatre is irrefutably an important aspect
of a culture. It is a syncretic art that encompasses
many different art forms. How can we claim to be
a cultural disseminator and disregard theatre?"
CCI had a policy that was if a Trustee initiated
a project that was beyond the scope of CCI's programming,
the Trustee had to be fully responsible for it financially
and otherwise. He/she must assume the duty of Project
Director and work closely with the staff and volunteers
to ensure the successful completion of the project.
Under that challenge CCI's President took that job
of producing a daunting play, The Malice of Empire
by China's renowned playwright, Yao Ke. The play
was translated into English by Jeremy Ingalls. It
was a very long play. Cuts had to be made in order
to be stages for the American audience. Many minor
characters were also cut or doubled up. But it still
involved thirteen actors.
The designing and building of the costumes (19th
century Chinese royal attire), headdresses, hats,
shoes, and accessories were major undertakings.
There was no place to buy any of those items. The
sets were also a big job. It took months to rehearse
the play.
In February 1985, we proudly staged it at the Tower
Auditorium of the Mass College of Art for three
weeks. The production was directed by James Williams
and Yih Tai, and produced by Artistic Director Jung
Chu. The scenery and prop were desgined by Liu Tian
Wei and built by John Ri ley. The lavish costumes
and all the trappings of the Ch'ing dynasty court
apparels, designed by Jung Chu, built by Elizabeth
Cole.and adorned by Liu Tian Wei, dazzled the audience.
