A group of young performers from the Jiangsu Province Kunqu Opera Theater captivated audiences in 2006 with their mesmerizing portrayal of characters from the production 1699 The Peach Blossom Fan. This had been adapted from the classical script The Peach Blossom Fan written by Qing Dynasty (1644-1911) playwright Kong Shangren.

Their talent and dedication propelled them to fame, marking a significant moment in the revival of the traditional Chinese opera.

Now, 18 years later, these same performers return to the stage to reprise their roles, offering a poignant reflection on their artistic journey and the enduring appeal of Kunqu Opera.

Touring nationwide from July to August, they are performing in several cities, including Beijing on Friday and Saturday, Suzhou, Jiangsu province, on Aug 3 and 4, and Guangzhou, Guangdong province, on Aug 9 and 10.

Two leading Kunqu Opera performers, actor Shi Xiaming and actress Shan Wen, appeared on July 12 in a bookstore in Sanlitun subdistrict, a popular Beijing commercial area in Chaoyang district, to share their memories about the Kunqu Opera production.

They started by elaborating on the name of the play: 1699 was the year that Kong completed the masterpiece The Peach Blossom Fan. In 1991, the Jiangsu Province Kunqu Opera Theater staged a version of the piece. To distinguish the new from the old version, director Tian Qinxin named the 2006 production, 1699 The Peach Blossom Fan.

The story, set against a Nanjing backdrop during the late Ming Dynasty (1368-1644), concerns a young scholar named Hou Fangyu and a courtesan named Li Xiangjun who loved and lived during the last days of the dynasty when their world fell apart. The separation and reunion of the lovers allowed the author to dwell on emotions associated with the dynasty's rise and fall, offering a kaleidoscope of society, such as honor and corruption, patriotism and disloyalty, friendship and betrayal, as well as cruelty and kindness.

"I was 16 when I played the role of Li Xiangjun, who, in the classic piece, was also 16," says Shan, now 35. The fact that both young women shared the same age of blossoming youth and harboring dreams for the future resonated deeply with Shan, who had just graduated from Jiangsu Provincial Drama School as she embodied the role.

"The epic tale demands not only vocal prowess, but also a deep understanding of classical Chinese culture and aesthetics. It was quite challenging for us when we first performed the production because we were so young," she says. "Now, we are in our 30s with more life experience, which helps to explore the roles' inner world with newfound maturity and insight."

A Kunqu Opera actress hailing from a family deeply rooted in traditional Chinese opera, Shan says that she studied the original script of The Peach Blossom Fan and examined various adaptations in film and theater, delving into the heroine's inner world.

After three months of tireless rehearsals, 1699 The Peach Blossom Fan premiered in Beijing in March 2006, etching Shan's portrayal into the audiences' memories. Her performance not only showcased her talent, but also solidified her position as a notable figure in the contemporary revival of Kunqu Opera. Now, Shan is a professor at Nanjing University of the Arts.

About 20 shows were staged in that year, bringing the play to audiences at home and abroad, with three shows in South Korea.

"What we did back then was imitate our teachers' performances, from singing to moving onstage. Even a single eye contact and a subtle movement of fingertips took us days to practice," recalls Shi, who was 20 when he played the role of Hou in 1699 The Peach Blossom Fan.

He also notes that an expert guidance team was formed, comprising the most esteemed artistic talent from the company.

"They wholeheartedly dedicated themselves to supporting and assisting us — the young actors and actresses of the fourth generation of the company, mostly under 18," says Shi, also a graduate from Jiangsu Provincial Drama School, who was trained by veteran Kunqu Opera artist Shi Xiaomei.

On the stage, his performance captivated audiences with his graceful allure, resonant vocals and scholarly poise, earning accolades from Kunqu Opera aficionados.

Both Shan and Shi Xiaming attributed the success of the play to director Tian, a veteran theater director, now president of the National Theatre of China.

Tian used innovative approaches in the Kunqu Opera production. For example, she featured Nandu Fanhui Tu (Prosperous Scenes of the Southern Capital), a famous painting 350 meters long and 44 meters wide, which vividly depicts the economic prosperity and social life of Nanjing in the late Ming Dynasty, as part of the stage setting.

"The painting was displayed onstage through screens. The director also let the band perform and be seen behind the screens, which was quite different from traditional Kunqu Opera shows," says Shan, adding that traditionally, bands perform on the sides of the stage, unseen by the audience.

"In one of the shows in Beijing in 2006, the director invited the audience to sit onstage, delivering the performers with stage props. It was a very fresh experience for us to have the audience share the stage with us," Shan adds.

Inscribed in the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO in 2008 (originally proclaimed in 2001), Kunqu Opera, one of the oldest traditional Chinese operas, has a history of over 600 years that originated in Kunshan, Jiangsu province. With a combination of singing, dancing and acting, as well as a live band, it is performed in the melodic Suzhou dialect.

Thanks to contemporary Kunqu Opera productions, such as 1699 The Peach Blossom Fan and the "youth version" of The Peony Pavilion produced by Chinese American writer Kenneth Hsienyung Pai, the fresh interpretations and innovative staging resonate with audiences young and old, sparking renewed interest both domestically and internationally.

"Those young people, who are devoted to the ancient art, deserve to have more opportunities to be seen," Tian said in an interview back in 2006. "If they didn't have performances, they might give up their career and take on other well-paid jobs. The art form would be dead."

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