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Liu Honglei, a master degree student in cultural communication and administration of National Academy of Chinese Theatre Arts, is in charge of marketing for this show. He explained that they gave away free tickets to promote the show to a wider audience, particularly students. "We have achieved preset goals by winning enthusiastic reaction from the new segment of audience. Audience watched the show so attentively that they were upset by even a trivial disturbance during the show," said Liu Honglei.

Audience member Bai Wen is quite used to seeing Peking Opera shows in modern costume. Born in 1967, the second year of the Cultural Revolution (1966-76), Bai grew up watching "modern Peking Opera" in model plays, almost the only theatre performance available throughout the Cultural Revolution. All performers in these model plays-based on stories of revolutionary themes-were dressed in modern clothing. Bai said his interest in Peking Opera arose from his childhood experience of watching the "modernized Peking Operas." "Peking Opera Les Miserables has created a good vehicle for expressing emotions of Westerners in an Eastern way and succeeded in enriching the characters and I loved the show," said Bai.

Yet there has never been a more controversial Peking Opera staged. Peking Opera Les Miserables has stirred a full-scale discussion within the Peking Opera community over how the drama should inherit old heritages and reinvent itself. Peking Opera professionals, amateurs and academia have had fierce debates on where innovation of Peking Opera should be going. They agree that Les Miserables is a bold attempt at exploring some deep questions existing in the innovation of folk operas, such as those in selection of creative material, set design and acting.

"The path of adapting Western classics could broaden the path for development of folk dramas, which will help to rejuvenate the traditional operas," said playwright Hao Yinbai. In adapting foreign novels in the past, Chinese folk operas tended to put the stories under a Chinese background and give the characters a Chinese identity. "But the unique background of the French Revolution for Les Miserables has decided that we cannot follow the same path; otherwise the graft will seem to be very awkward," he said. Hao said he was greatly inspired by musical Les Miserables in his creation.

The director of this show Pei Fulin is the Dean of Director Department of National Academy of Chinese Theatre Arts. He said his direction in acting, music, set design and costume design had tried to create a stage for the harmonious coexistence of elements of Peking Opera and a foreign story.

"Peking Opera over a long history of evolution has developed a complex system of crafts, which are also very flexible," said Pei Fulin.

As for the design of costumes, controversies exist within the cast and crew. Costume designer Liu Xiaoqing said, "Our designing of costumes has considered both the social background and the requirements for acting skills of Peking Opera." However, Chai Lixing, head of communication department of National Academy of Chinese Theatre Arts, confirmed that they are not afraid to be on the bold side since the play is experimental and educational.

Peking Opera's traditional golden rule on prop designing is simplicity. The props for many scenes are confined to a table and two armchairs. Peking Opera Les Miserables, however, uses a very complicated set made of metal. Li Wei, set designer, said without innovation, Peking Opera has no future.

After watching the show, Steven D. Lavine, President of the renowned California Institute of the Arts, said, "What is amazing about music in this show is that it is so accurate and firmly holds the attention of the audience. The music belongs to the modern times as much as to Peking Opera."

Peking Opera Les Miserables--The Story Jean Valjean, released on parole after 19 years on the chain gang, finds that the yellow ticket-of-leave condemns him to be an outcast. Only the saintly Bishop of Digne treats him kindly and Valjean, embittered by years of hardship, repays him by stealing a silver candlestick. Valjean is caught and brought back by police, and is astonished when the Bishop lies to the police that the candlestick is a gift to save him. Valjean decides to start his life anew. Eight years have passed and Valjean, having broken his parole and changed his name to Monsieur Madeleine, has risen to become mayor of Montreuil. Javert, a police sergeant who has been tracking the parole-breaker for years, discovers Valjean's true identity and swears to put him back in jail. To keep his promise to Fantine, a dying woman, Valjean escapes from Javert and rescues Cossette, Fantine's illegitimate daughter, from the Thenardiers who have been lodging and mistreating the girl for five years. Valjean is again in disguise and lives a quiet life in Paris with Cossette, his "daughter." He rescues Marius, a revolutionist who is in love with Cossette, from the fierce battle at the barricade. He is given the chance to kill Javert, but instead lets him go. Valjean confesses the truth of his past to Marius before the young couple gets married and Maruis decides that Valjean should keep away from Cossette so as not to taint the sanctity and safety of their union. Thenardier tries to blackmail Marius, only to reveal the truth that it is Valjean who saved Marius from the barricade that night. Marius and Cossette go to Valjean before the old man dies. Moved by Valjean's generosity and kindness, Jarvet gives up his duty as a police sergeant and commits suicide. The miserable world is enlightened by the glory of humanity. (source: www.lesmis.com)