The story of Mulan has had many incarnations – including the romanticized Hollywood versions by Disney – but I enjoyed a classical dance retelling based on the original poem presented by The China Arts and Entertainment Group at the David H. Koch Theater at Lincoln Center in New York City.
The stunning full-length dance drama was produced and performed by China Ningbo Performance & Arts Group to an enthusiastic audience. The duel chief directors/choreographers were Zhou Liya and Han Zhen, with composer Du Ming, playwright Zhu Hai, stage design by Tan Ze-en, lighting design by Han Jiang, costume design by Wang Yukuan, and makeup by Jia Lei.
The principal dancers were Tang Xinyi as Mulan with Wang Zheng or Xia Tian as General Wei.
The Ballad of Mulan was first created by an unknown Chinese poet in the Northern Wei Dynasty (386–534). In Chinese, mùlán means “magnolia flower,” and the poem recounts the tale of a lovely young women who defends her country and family reputation in the guise of a warrior.
Mulan’s country comes under attack, and her beloved but aged and infirm father is called to battle. To protect her beloved father and the honor of their family, Mulan steals his battle gear, disguises herself as a male, and takes his place on the battlefield. She fights heroically for 12 years before the battle is won and she is returned to her home, where she resumes her life as a woman.
Is Mulan a mythical character? A folk story recounted to encourage bravery in female children? Or is she based on a real person? While there are historic records of women in China’s violent past who have led armies to victory, there is no definable answer for this often told tale of familial loyalty, heroic courage, and female determination. It has become an archetypal theme upon which every culture can relate and retell according to the tragic events of that culture.
In this dramatic dance version, the curtain opens to reveal a massive blood red moon. Heraldic music accented by heavy drum beats welcome the warrior figure Mulan to stand before it dressed in battle attire and wielding her long sword. After she demonstrates her acuity with her sword, melodic melodies begin to play out the duel faces of Mulan as she dances out her love for her family and willingness to sacrifice for them.
After the prologue, we see Mulan as she interacts with her father, first as a child and then as a grown woman, displaying her devotion to him until the winds of war disrupt their peaceful world. We see her don battle gear and join the army disguised as a man.
Under the watchful eye of General Wei, she shares the harsh training required of all recruits and the difficult living situation of hiding her femininity with bravery and determination. Periodically, humor is woven into the narrative to break the intense nature of Mulan’s experience. The soldiers’ sleeping conditions are particularly delightful.
Athleticism and precision are keynotes to the action, counter-positioned against the grace and charm of Mulan’s dream sequence of her friends and sisters playing out the life that she once knew.
Interwoven into the training sequences is the confusing attraction between Mulan and General Wei, who is, of course unaware of her true nature. But the most striking and awesome scenes take place on the battlefield.
The innovative stage design features a 15-meter revolving stage that reveals the story on multiple levels. So, as fighting takes place on the stage’s interior, the moving exterior becomes a diorama of fallen soldiers frozen in death. The dramatic lighting highlights the impact of the shocking fighting and death scenes while the traditional detailed costumes transform the action into a believable time long past.
Mulan is a production of overwhelming artistry and creativity, but it isn’t a lighthearted recounting of a heroic story. So caution should be taken when exposing young children (who might be fans of the Disney versions) to this two-hour-long ballet that’s based on love but has an abundance of violent scenes.
Barbara Angelakis is one of the founders of LuxuryWeb Magazine, and she is its Senior Travel Writer. She travels the four corners of the world with a thirst for knowledge and a twinkle in her eye, seeking out the history of people and places and sharing her experiences. She specializes in culture and history along with luxury destinations, hotels/resorts/cruises/spas, and most recently Jewish Heritage, exploring the historical connection between Jews and their host countries. She has been recognized for outstanding coverage as “Journalist of the Year” by the Tanzania Tourist Board and is the recipient of the MTA Malta Tourism Press Award, the first American to receive this honor. For the past 25 years, Barbara has written extensively for LuxuryWeb Magazine, and her work can also be found at The Jerusalem Post, Jewish Link, Epoch Times,and Vision Times.
0 Comments