A GROUP of budding artists has breathed new life into the 17th-century Chinese theatrical piece, “Dream Under the Southern Bough,” captivating American audiences with a modern twist and a diverse cast. The production, known as “Nan Ke Ji” in Chinese and based on a story written by classical dramatist Tang Xianzu, intertwines historical artistry with contemporary perspectives. Saturday’s show was the first in a week of performances at California Institute of the Arts (CalArts). Director and third-year CalArts Theater major, Wang Duoyi, emphasized the universal appeal of the story. “It is very Shakespearean, so it was important for me to emphasize the universality of the story instead of just its so-called ‘Chineseness,’” she said. The original tells the daydream of a young man who weds the princess in the Kingdom of Ants and lives in luxury, only to wake up to the realization that fortune and love are both vain pursuits. The original play, serving as a critique of societal structures during the late Ming Dynasty (1368-1644), reflects on the pitfalls of relentless pursuit of personal desires and the ambiguity between dreams and reality. Wang condensed the play from six hours to a one-and-a-half-hour performance in English, infusing it with humor, dynamism, and a feminist perspective while respecting the essence of the original masterpiece. To underscore the timeless relevance of the play’s plot and themes, Wang purposefully assembled a diverse and international team. “I believe that Chinese culture is not meant to be just appreciated and understood by Chinese people,” Wang said. “On the contrary, it should be cherished by everyone and deserves to be appreciated and understood by people from all over the world.” The sold-out performances have attracted a diverse audience, sparking enthusiasm even among those unfamiliar with Chinese theater. “It’s a remarkable work,” said Steve Colman, a viewer from Los Angeles. “Who knew a 400-year-old Chinese play would be something that I could actually relate to?” Wang’s modern and minimalist approach, coupled with multimedia and music, produces a piece that echoes the literary taste of the original author Tang, who once described his own work as endowing readers “the wings to fly, and a device to travel back and forth in time.” “It is the intrinsic humanity within every culture that forges our interconnectedness,” Wang said. The cast members shared how the experience had inspired them. Jack Goldwaithe from Sugar Land, Texas, who plays Chunyu the male lead, said he was able to relate to his character regardless of where he comes from and what he looks like. “Zoe (Wang) made the entry point a lot easier for most audiences, especially American audiences who are used to seeing diverse types of people in a multitude of roles,” Goldwaithe said. “The play offers a dose of Buddhist wisdom,” said Lucy Ma, a CalArts student who plays Lady Truffle . “It’s important to encourage the Asian community to share its stories because this is a group that needs to be seen in this country.” The play has not only rekindled an appreciation for Chinese culture but also encouraged actors from various backgrounds to reflect on the universal human experience it portrays. “I learned that we’re all more similar than we think — all kinds of going through the same human journey,” said Justin Henricksen, who plays the prime minister.(Xinhua) | 