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Loong Kim Sang (born 1944) is the Cantonese opera performer known as Yam Kim Fai's protégée and successor (Chinese:「嫡傳繼承人」)^[1][2][3] since^[4][5][A] mid-1960s, inter alia, in particular the vocal style Yam Hong (Chinese: 任腔).^[6][7]See § AAA on stage. Loong, off stage, is also described as sharing Yam's temperament and mannerisms.

Yam was said to be the only actress competitive in male lead role of a generation^[8] and survived when the ban on "male/female in same troupe" was lifted in the 1930s. Loong is considered by some as the first actress in male lead role that dominated the field,^[9] although she was dueling^[10] with one actor often in 1972-1992. Yam and Loong together leveled the playing field for generations of actresses^[11][12] who have joined the Cantonese opera community since the 1980s.

Early life

Loong was born Lee Pui Sang on 04 November 1944 (Lunar 19 September 1944) as the fourth child to parents, a teacher father and a stay home mother, who have one son (eldest) and seven daughters. Against the will of father/brother but with the support (financially for the decade of training) of mother/sisters, she joined in 1960, as dancer, the then Sin Fung Ming troupe^[4][5][A] created by her mentor Yam and Bak Sheut Sin.

1960: Dancer class

• Advertisement: 25 October 1960, female, age 16-22, 4'9" to 5'1", 85-100 Lb.


• Applicants: 800 to 1000 (different sources)


• Dancer Class: 44 recruited but eliminated down to 22 members on stage


• Class Started: 26 December
  


• Duration: 8 months (48 shows started on 19 September 1961)


• Training: gender neutral as background dancers


• Location: Kom Tong Hall (Chinese: 甘棠第) since day one^{[13]Issue#105/106[B]}

1963 Training class started with the 12 recalled members of 1960 dancers including four, playing male roles, each had a solo part, order of appearance 蕭 劍 纓, 龍 劍 笙, 朱 劍 丹, 蓋 劍 奎 in 1964 CD, in finale theme song of The Story of Emperor Li. Members, new and recalled, number peaked in 1965 and went down to total nine (9) in 1969, including one married with a baby on the way. For example, 蕭 劍 纓 departure after the 1965 Excerpts performance led to the smaller group over time.

1964 Charity performances^Issue#106[B]

• Given stage name according to the year (1964, the year of dragon, 龍) and the mentor (middle name 劍)


• Took after mentor Yam the first time formally on stage (Overseas Chinese Daily News (OCDN) 華僑日報 Education Fund) and was taught line by line and word by word in home of mentor Yam as Jia Baoyu, an iconic role of Yam (recognised as a famous interpreter since the early 1940s in Macau during the Second Sino-Japanese war)


• Debuted as romantic scholar character Jia Baoyu to rave review from the Press and mentor Yam passed her stage outfit "Precious Jade" to Loong, her most favorite Jia Baoyu. Loong went on in this same role to represent mentor Yam in the 1980 ensemble cast, the first since 1949, with performers of all generations before Loong from Guangdong and Hong Kong to live audience and TVB broadcast afterwards.^Issue#134[B]

1968 to 1970 Shared the stage with mentor Yam as one of the six pillars^Issue#108[B] and debuted in 1969 "Farewell, My Husband" (first full title, on August 8 to 14)^{Issue#109[B][C]} in between those four titles as understudy. Mentor Yam staged (演出機會)^[D] total five titles with the "kids" (細路) - she called affectionately in interviews. Yam made clear to the Press that there would never be a structured curriculum she could give them. Moreover, the essential qualities^[D] in any potential heir/successor were to study meticulously (要鑽研)^[D] and persevere (有恒心)^[D] through the necessary training.

Those played hooky, being caught red-handed, eventually never learnt the essentials like ending rhyme^[14]韻腳 or endured the prescribed training sessions, were never "kids" mentor Yam could be proud of, let alone heir or successor to Yam. According to Loong, the only way mentor Yam taught^[D] her was for her to "watch and learn". Mentor Yam had never been verbal about her Art even when she showed Loong the rope. Without the basic knowledge accumulated over a decade, some complained that mentor Yam never taught by more than letting them watch (Cantonese: 係睇人哋嘅戲)^[D] the 1968/69/70 performances. It had been a privilege for former generations in Cantonese opera community in the past being allowed in the audience when a senior performer was on stage. Illiterate performers needed the manuscript read out loud or explained word by word for them. Yuen called such "story telling" an understandable need/habit in the past but not in modern days.

1970: Passing the baton

• Yam-Loong-Chor^[15][16](任、龍、雛), breadwinner (票房的主力) to breadwinner (票房的主力) of the whole group, started with full time stay with mentor Yam (任姐) for more than a year. Loong called that duration (actually never stopped 跟隨任姐學藝和服侍任姐 for close to 30 years) the best time of her life.^[17]


• Mentor Yam, like a second mother, left to/saved for Loong, fame and all. Her teaching Loong behind closed door of one room at home is an universally known arrangement but no reference is available since Loong has not talked about that. What transpired between mentor and protégée has been beyond anybody's knowledge. From 1965 onwards, Yam provided all necessary assistance or guidance for "kids" to get experience on stage. For example, she showed the "kids" a trick, to overcome shyness at 1969 photo shoot, Loong still employed in 2015 to get into her character instantly. However, Yam did not take the bow again at curtain calls, steal thunder from "kids" for vanity unlike in 1965 when she had to since no "kids" was in charge. Moreover, Yam declined to entertain any academics' requests, whether to share her Art in Cantonese opera with them or to be back on stage for their studies/researches.


• Lid was on distractions like limelight seeking by any and all group members. This has been rudely violated upon mentor Yam's death with corrosive and damaging, at times, comments in public, by those jockeying for position and limelight seeking, those from within & without and those from nooks & crannies.

1970s Upbringing

• 1971 Brief sabbatical and worked as assistant editor since there was no future in sight as mentor Yam saw it.


• 1972 Stepped up on behalf of mentor Yam to perform in Vietnam^[E] and ran with it. Then, debuted "The Sword of a Loyal Family" (second full title, on June 1–8 and June 16–22)^[F] but out on June 18. TVB telethon event hosted for the victims in the June 18 landslide L to R from mentor Yam, 朱 劍 丹(Chu, in orange dress), 蓋 劍 奎(Koi, in green dress), 龍 劍 笙(Loong), the team leader, and three more as backup singers.


• 1973 Kicked-off as career performer (in mentor Yam's Sequin(珠片) costume^[2] made for Yam's 1968 North America tour) under brand name Chor Fung Ming (Young Phoenix) Cantonese Opera Troupe (雛鳳鳴). Was flanked at press conference each side by veterans Leung Sing Bor and Lang Chi Bak. There were five (briefly including Koi who died in 2007) remaining dancers from 1960 and the youngest one from 1963 class (peaked at 7 only total). This brand name has been hot^[15] reference in resume of Cantonese opera community for half a century (Like The Beatles, Bee Gees, etc.) Former classmates even from 1960, no more or never mentor Yam's "kids", showed up to bask in the glory since the death of mentor Yam in 1989 - Yam MIC. Loong, the Principal member since day one, is the last remaining as of 2016 since there never was revolving door when members stepped out for journeys of no return for any reason. Loong, the registered owner, is also the only performer consistently associated with this brand name (given to Loong by mentor Yam in 1982 ?) for over five decades.

Dark horse

Nepotism in general, pay-to-play and quid pro quo, the norm in HK Cantonese opera community, make it difficult for outsiders even today to get ahead. Second generations also still see themselves as entitled to even resources from NGOs or HK Government. In addition to what Man referred to generally as late bloomers against the odds to be successful, Loong also has no family or other connection in Cantonese opera.For comparison purpose, Man (retired in 2011 at age 70) started at age 9, Law (career performer until 1991) started at age 8 and Yuen was even younger. All three were brought up by family or friends of family in the Cantonese opera community as well.

Career

Loong was recognized as promising during the late 1960s and 1970s,^[18] and acted in various types^[19] of Cantonese opera as male leads in full versions since 1969 with several female leads as co-stars. However, the residue value of her "down-ballot effect" is minimal for her co-stars.

Law, a peer of Loong, recounted the business environment,^[20] 1973 to early 1990s in particular how Cantonese Opera was "rescued" from total collapse and the role Loong played, including missing in action for 12 years, in the ups and downs in April 2015. However, the frequency Loong performed was initially limited (e.g. nine times for a week in 1973 and total 11 titles for 1973/74)^Issue#113[B] for the first few years in Hong Kong.^[21] To go from this slow pace to months long of fast pace overseas tour was not easy, as per Loong's remark in 1975 after the SE Asia tour of four months. The pace didn't pick up in Hong Kong until the troupe showed how profitable it was for investors to hire them. It was a business decision for theatres to accept their month long performances notwithstanding what was alleged by some so called insider, unlike what^[22] is happening in Hong Kong.

On stage live productions

1972-1992, Loong has performed in full version of over 50 well-known titles, one to two titles a day usually. Those titles could be just requested the day before by theatre owners (investors who hired the troupe), like the request written on a beverage napkin in a piano bar, during overseas tours. Loong, therefore, performed many titles that the audience in Hong Kong did not witness. A few mostly with Kong^[23] as co-star are listed below.

Law, a peer of Loong, says that there are over 60 titles he can perform on stage at the drop of a hat. He performed in 2015 one title just from memory, having been in the audience as a child. His first cousin, also a well-known performer, did that actually in front of Bak Yuk Tong 白玉堂 with one of his well-known title. That is the common quality in professional career performers.

Having learnt the essential basics like ending rhyme^[14]韻腳 in the decade of training from 1960 to 1970, Loong could honor new requests without even a day's notice in the evening by studying the manuscript overnight and rehearsing in the afternoon. Loong actually compared such challenges to taking the Hong Kong Certificate of Education Examination (HKCEE) although Loong never sat for such examinations. This was the only way to survive extension after extension since repeating of titles were not acceptable except for a small number of popular ones during first overseas tour in Vietnam. Loong said she talked her way out of performing in that first trip but had to perform with Kong^[23] in SE Asia the all-time popular title "Time to Go Home (胡不歸)". The 21-day Singapore trip planned became 66-day stay (77 shows) in 1975. Mentor Yam did not agree to further extension even when approached by Ketra Ayers People's Theatre which had seen 77 full houses, including Buddhist nuns, with overflow at times. Chairs were added in the aisle and front of stage to accommodate the overflow.

Loong's memory power, which, among other qualities in Loong, impressed mentor Yam, served her well in these occasions. Loong was said to have never studied or kept the manuscript at her make-up counter backstage. A manuscript in those days was like a phonebook in size written in Classical Chinese 文言文 instead of Yue Chinese, the everyday spoken language. Mentor Yam herself was known to "study" by just having younger sister to read it out loud for her while busy playing Mahjong. The general consensus has been that mentor Yam had "good" memory power. Yet, Yam was impressed by Loong.

Repertoire select

Martial arts

With the departure of ^[25]Kong Suet-Liu in 1976 after the second tour^Issue#125[B] in SE Asia, Loong could not find a compatible co-star for these three. The first two were originally created for young performers, all classmates, to have a part. Therefore, these were only staged sporadically since then to provide opportunities for new hires from training schools,^Issue#137[B] otherwise only as pedestrian A or other "human prop". Kong^[23] was also Loong's only co-star^Issue#116[B] who could play the female lead Zhu Yingtai (祝英台) in Butterfly Lovers, one of China's Four Great Folktales.

Mou (武, "martial arts") Category by Yip Shiu-Tak (葉紹德)

Cast - Loong as male leads, a General officer and then a young warrior; Kong Suet-Liu (江雪鷺)^[23] as female leads, the General's wife and then sister of Jialie, in a young woman warrior role, Dou¹ Maa⁵ Daan² (刀馬旦).

1. 
   Island of Farewell or Farewell, My Husband (plot) (Debut 1969)^{Issue#109[B][C]}


2. 
   The Sword of a Loyal Family (Debut 1972)^[F] - Yip in collaboration with Lee Siu-Wan (李少芸)^{Issue#111/112[B]}

Plot with modifications highlighted below.

Meng Kui (Leung Sing Bor) colludes with pirates in a plot to attack Huainan. Xun Ru wants to borrow from Madame Long (Lang Chi Bak 靚次伯) the sword with a hidden blade to assassinate Meng. Madame Long agrees and even sends her grandson Jialie (Loong) to be the assassin.Unfortunately Jialie is driven off a cliff in the end. On Madame Long's birthday, Meng Kui announces his visit and presents her with a silk box - inside is a human head. Madame Long decides to mobilise the entire family to fight the villain and die for an honorable cause.At this point an injured Jialie appears. He has learnt of Meng Kui's return route via the treacherous Bolang Cliff. Madame Long picks up her arms and leads her men to lay an ambush. Meng Kui's army is duly trapped and Meng Kui is killed. The story of the sword of the loyal Long family is passed down the generations.

Butterfly Lovers (pdf) full libretto of Man (文, repertoire of mentor Yam and Fong Yin Fun) Category by other librettist . Loong released CD with the solo theme song in this title with three others of mentor Yam's in 2012. Mentor Yam also reprised her role as Liang Shanbo (梁山伯) more than once since the title debut. A film with Fong Yim Fun (芳艷芬) released in 1958 was followed by CD with Lee Bo-Ying (李寶瑩) released in the 1960s.

Yam-Tong

Man (文, Cantonese Opera Legend Yam Kim Fai) Category

By Tang Ti-sheng (Alias: Tong Dick-san) (唐滌生), in tribute to mentor Yam's iconic roles, but often adapted by Yip Shiu-Tak (葉紹德) for various reasons. He talked about some of those reasons on radio at least twice.

1. In 1989, the 30th anniversary of Tang's passing, 6 episodes of Interviews with those around Tang "唐滌生藝術迴響" including Tang's wife.


2. In 1985-6, 30 episodes of Tang Ti-sheng's Art "唐滌生的藝術" - a comprehensive look of Tang's work.

1980s

New productions by librettist Yip Shiu-Tak (葉紹德)

Others

Loong performed following titles at various time of her career for different reasons. #2 did not register with the audience as the female lead in it should be fairly easy (低級/淫賤) as a prostitute (type of role the original cast was known for). Loong learnt Ping Gui Leaves the Cave Dwelling from godfather in the 1980s but #7 and #13 were probably only for overseas tours in 1972 to 1976 while new martial art titles since then, #8 and #9, were not as big a draw with the only co-star left.

Historical overseas tours

Loong has performed in Vietnam, the United States, Canada, Singapore, Malaysia, Macau and Australia. (According to Law, the pay for one day in those years could be as high as US$50,000.) Her "path to Las Vegas" has been a 2 to 4 page monthly special feature of an opera magazine from 2011 (Issue 105) to end of 2013.^[B]

On 22 July 1975, Princess Royal of Tonga who was visiting Singapore, went backstage during an intermission of an afternoon performance of "The Chivalrous Thief & His Beloved Princess" (玉龍彩鳳渡春宵). She spent some time in the audience and was accompanied by Leslie Wong, (黃仕英), secretary of the community center's building fund committee. Loong apparently tried to explain the plot to Her Royal Highness backstage while they were photographed.

Before a return performance on 11 July,^[32]Goh Keng Swee presented Loong and troupe a souvenir. Invited by Goh, Loong and troupe attended the celebration of the tenth Singapore National Day before returning to Hong Kong.

Loong's troupe was known to have fancy costumes. In 1975, in-between full-house performances in theater since April, The Sword of a Loyal Family,^[33]

Loong's troupe returned in 1976 because there were requests for more performances after 77 sold-out performances the year before.^[34] Mr. Lee Wai Kok (1971-1976, Chairman of management committee, Kreta Ayer People’s Theatre Foundation which was registered as a non-profit organization on 21 May 1975.) found the most exciting facts emerged from 1975 tour were:

1. the young people were coming to the performances


2. even the English educated without the cultural background to appreciate Chinese opera were clamoring for tickets^[35]

^[36]Interest in Chinese opera (over 360 opera genres in China actually) among younger audiences surged in Singapore.^[37]

1970s

By the numbers:-

1. 1972, Vietnam,^Issue#110[B]over 40 shows in 37 days, at a theatre in Cholon, Ho Chi Minh City, in lieu of mentor Yam who received the invitation. The crew included Kong^[23] and one more dancer from 1960. Early April 1972, Loong and two classmates were welcomed at Kai Tak Airport by, inter alia, So Siu Tong (蘇少棠) when returned from the first overseas performance. (see the Nguyên Huế Offensive (also called the Easter Offensive) 30 March 1972.)^[E]


2. 1975, SE Asia, 106 shows in 91 days,^{Issue#118-120[B]} at Ketra Ayers People's Theatre and others, Kong^[23] as one (80% ?) of two co-stars.


3. 1976, SE Asia, 117 shows in 102 days,^Issue#125[B] at Ketra Ayers People's Theatre and others, Kong^[23] as one (80% ?) of two co-stars. As finale tour, Lang Chi Bak at 72 years old, was paid SGD$600 each day, over 10% of troupe's entire remuneration of SGD$5,500 per day, according to theatre management.


4. 1978, US^[27] and Canada, 89 shows in 71 days,^Issue#130[B] in 18 cities, Image from 1968 Movie Tragedy of the Poet King can be seen in Poster(粵劇在海外「雛鳳鳴粵劇團」美加巡迴演出的海報)

1980s

In 1982, Loong was invited to perform for Christmas season by the Las Vegas casino Caesars Palace at the debut of The Story of Emperor Li in Lee Theatre that November. Therefore, Loong and troupe had about one month to mobilize. Usually, such a long distance trip took years of planning in advance.^Issue#140[B]

1968 Movie Tragedy of the Poet King, a financial disaster (paid for mostly by mentor Yam) for Sin Fung Ming, was banned/boycotted in North America for theatrical release because of the political background of production team. Despite objection of film producer (for unknown reason), Loong hired Yip Shiu-Tak (葉紹德) to adapt it for stage with the support of mentor Yam and godfather Luo Pinchao whom Loong called Daddad "爹爹" as suggested by Yam. Both, Loong's second parents, were in the audience for debut.

1982 Stage production The Story of Emperor Li with the same plot/characters was invited by Mr. Hop Louie Woo, VP of Caesars Palace. Being the first to perform Cantonese opera in Las Vegas, Loong was welcomed by Mayor William H. Briare and Mr. Harry Wald. As a pioneer in Cantonese opera community, Loong was visited by the other active male lead in the 1980s, a keen competitor,^[10] backstage in the theatre. Local TV station was also on hand to film and interview. This win, golden commemorative shield awarded by Caesars Palace included, as a pioneer also promoted the former 1968 movie and a finale theme song (used in 1982 stage production but not the movie) released in 1964.Since 1998, the 1964 CD has been receiving CASH Golden Sail Most Performed Works Awards (Chinese Operatic Work) just about every year. CD of two more theme songs from the stage production was released in 1990. Songs from the 1968 movie were never released in any form or shape for commercial purpose.

Yam wore the costume (king's wedding attire) from this movie in her casket while Loong donated her own costume (king's wedding attire) to museum in Hong Kong. Generations of performers continue to use a similar wedding attire as well as all the costume designed specifically for this 1982 stage production, like most of Yam-Loong costumes. These are from a different era compared to regular Cantonese opera costumes. It is a tradition for protégée like Loong to copy costume from mentor like Yam as much as the protégée receiving the mentor's used costume in Cantonese opera community. That's an honor for the younger to be announced as the anointed heir and successor. Loong also appeared to take that honor to heart. Generally, there is no respect for copycats (performers copying the costume) or worse (using a stolen sword once used by a prior generation).

During the 1984 North America tour, Mayor of New York honored the troupe she led just like Mei Lanfang was honored in the 1930s after the performance at Sun Sing Theatre. Loong presented Mayor Ed Koch with a framed seashell drawing ceremoniously in return.

• Address: 75 East Broadway, New York, NY 10002


• Ticket: US($50, $40, $30, $20 and $15)

Note:-
For comparison purpose, ticket price in April 2017 for performance in Bay Area were US($80, $60, $40 and $30).

Without visiting France (4 shows arranged) and the Netherlands (3 shows arranged), the troupe began to perform right upon arrival on 14 instead of 16 August as planned and ended the 43-show trip before 3 October in order to be back in Hong Kong for Cantonese opera pioneer performance at Hong Kong Coliseum, 1984 The Ninth Festival of Asian Arts program.^[38]

In movie theatres

In 1973 or 1974, Loong preferred stage over film not long after the kick-off of her commercial performance.^[21] Loong made only four films, including three remakes of Yam's, as instructed by mentor Yam who was certain that easy money (HK$20,000 a film for Yam in the 1960s but in 1970s rumored to be HK$100,000 a film offered for Loong to leave the troupe after staring the first film.) from films would not take Loong from stage performance.^[39] As per John Woo, Loong and co-workers were pure (純), not big-headed or horsing around on set, not like those worldly in jianghu (Chinese: "不似跑慣碼頭" or "冇江湖味"). It was a compliment since those IN would/could not stop, by any means and at all costs, until they get what they, deserve or not, set out for. (「人在江湖，身不由己」)

Films

Credited as Lung Kim-Sang by this particular webpage.^[40]

DVD releases

Live recordings of stage productions have been in movie theatres for limited releases in 2012 (2011 on stage), 2015 (2014 on stage) and 2016 (2015/6 on stage) as promotion as well as opportunities for audience that missed the stage production events.

In April 2016, 2015 version of the 2016 DVD was a highlight feature of 《myTV SUPER呈獻: 萬千星輝睇多D》 while 2016 version was screened in one movie theatre, for HK$160 (am) or HK$220 (pm).^[41]

Life-long learning

"A performer has the responsibility to better oneself, with or without awards in sight." was Loong's response upon 1990-trophy presentation. Among others, learnt^[D] from:

1. 
   Luo Pinchao, Loong's godfather since 1979^Issue#133[B] and a guru, such as "Ping Gui Leaves the Cave Dwelling (Chinese: 平貴別窯)" - a southern style 南派 well-known title, swordsmanship but with jian (Chinese: 清平劍術), some nanquan (Chinese: 南拳) and through Mr. Luo, many more from PRC.


2. 
   Sichuanese opera (川劇) actor Xiao Ting (Chinese：曉艇, Xiǎo Tǐng) - the art of Chinese foldable/folding hand fans (Chinese: 扇子功)


3. Generally, ("睇人哋嘅戲")^[D] just being in the audience with mentor Yam or classmates for Chinese opera, ranging, but not limited to, from Beijing opera, Kunqu, Shanghai opera to Cantonese opera (e.g. when Loong first met godfather Mr. Luo).


4. Performers with all backgrounds while supporting the students.^[42]

Loong is known to admire, including but not limited to:

• 
  Yue Meiti (Chinese: 岳美緹) - Kunqu actress in male lead role (Chinese: 小生).


• 
  Pei Yanling (Chinese: 裴艷玲) - Beijing opera and Kunqu actress in male lead role (Chinese: 生). (Born Pei Xin; 12 August 1947 in Hebei, China) from Oxford reference.
  

Sabbatical

Loong later retired^[13] in 1992, and moved to Canada, as ultimate loyalty to the mentor who asked for nothing in return, tangible or intangible, implicit or explicit, of close to 30 years.

10 March 1992, the retirement announcement shocked the Cantonese opera community. At 48, Loong was supposed to be at her prime as a Cantonese opera performer. In 2004, a veteran member of the Press thought Loong "gain weight" compared to 1992. In addition to weight loss observed by audience, she was actually suffering itchy rash, except face and hands. Since costume covered most of the body, Loong said^[13] it was "Thanks to Sin(先) Si(師) Wah(華) Kong(光)!" that she finished performances already scheduled without being noticed.

In 2012^[13] and 2014,^[17] Loong disclosed her trips seeking medical treatment and other events leading up to her decision. The death of mentor Yam in 1989 was instrumental to her poor health in those days. However, the decision to end the career on stage stemmed from mentor Yam suggestion^[17] in mid-1980 since there were not any good manuscripts in sight. (Yip Shiu Tak died in 2009.) Her troupe could only keep staging 'run-of-the-mill' productions from mentor Yam's iconic roles as "clean-shaven scholars".

Must excel

Two brothers who passed away in 1981 and 1985 were musicians who also composed well-known scores for Yam and many others of that generation in 1950-1980. Island of Farewell, the inaugural title for Loong, also was composed by the elder brother who was also one of the first music teacher for Loong.

Mentor Yam wanted more than just her legacy projects for Loong, the bread-winner^[10][16][29] for a troupe with over 100 employees who were mostly paid per number of show instead of a salary. Loong would have been just a promotional tool of her mentor's legacy to keep running for decades that gravy train.

(Over HK$350,000 ticket for one 12-show performance was sold out at 4am, in less than 24 hours, in the 1980s. When the box office opened at Sunbeam Theatre, Loong found lines of anxious customers around the building. She arranged with the theatre all-hands-on-deck, veteran of Art Department fondly remembered in 2012, and box-office not to close until sold out.)

Structural deficit

Other events also explain her exhaustion include the close to 150 a year live productions on stage with only the stage manager, Mr. Leung Hiu-fai, by her side.

As patriarch of her troupe, Loong used to have two lieutenants from the dancer class of 1960. The two amigos with Loong were known as the three musketeers. They moved on in 1988 when her godfather Luo Pinchao also left China for the United States.

Her troupe was further re-organized in 1988/9 and two long time veterans also left the troupe. Since 1972, they had been the "Madame Long" from The Sword of a Loyal Family and crew for Vietnam tour. Lang Chi Bak 靚次伯 (1905-1992) was over 80 years old in 1988. He stayed loyal to Loong's troupe, not taking jobs on the side. Lang Chi Bak, like the uncle of Man and Chan Kam-Tong, also volunteered to teach Loong and others for debuts, whether he had a role or not, in 1965 (no role), 1969 (no role) and 1972 (yes). They were not always given the credits even when it was due. There were photographs which marked the occasions.

Those replacing these lost members listed above were not as disciplined or loyal.Yam was backstage and in the audience on 20 February 1989, to check on Loong when the troupe performed The Purple Hairpin for Tong Wah (a charity event), according to one veteran audience who kept that ticket as souvenir.

Last straw

Mentor Yam managed the lid by refusing radio interview requested by Yip Shiu Tak although she couldn't stop someone (related in a way Yuen called 'no divorce mechanism'「陀名掛字」) showing up without invitation at Kai Tak Airport for photo-op with a school age child on a school day to bid her farewell in front of the Press which 'happened' to be there. That resulted magazine cover was the only public photo Yam had with former acquaintance since the December 1969 wedding banquet of a musician. Record speaks volume about the intention. The acquaintance paid Yam a visit backstage for the Press only after movie roles dried up. Prior to such reality, a group photo as one of the "kids" in 1968 at Kai Tak Airport did not happen. Opportunities to work with mentor Yam in a film or on stage were all rejected.

Before leaving for Canada on 9 June 1987, Yam was busy talking business with Luo Pinchao and holding on to Loong as a walking stick, before joining three co-workers of Loong for a press conference. To the Press, however, Yam always kept a distance since 1982 debut of The Story of Emperor Li. Her involvement would have otherwise cast a long shadow on
Loong. Yam named all four (Kong,^[23] the fifth, left months ago) remaining "kids" individually in 1977 to the Press, talking how proud of the box-office they achieved and refusing, too old and weak, to take in more "kids". (Records set by all five in SE Asia tours still hold today.) Loong, the assigned messenger, also was keeping the Press posted in all fronts^[4][5][A] and writing a newspaper column called "阿刨話你知" (Translate: Loong "阿刨" tells you) for a while in 1985.

The Yam MIC (as Eisenhower's MIC) was born on 29 November 1989. All hell broke loose. Book deals, interviews on TV, by the Press in general, academics' researches, former acquaintances, etc. became the livelihood of those not even remotely related to the group. Distractions from performances on stage as predicted long time ago popped up everywhere but mentor Yam cannot rein them in from six feet under. There were enough "kids" of Yam to form two soccer teams all of a sudden although Yam did not associate with them at all. 29 August 1982, Yam returned from Europe to Hong Kong with a broken left-wrist. Loong was the one photographed holding/helping (服侍) the mentor who looked agitated/frightened at Kai Tak Airport.

Loong realized the exhaustion and illness could appear on stage one day. Better be safe than be sorry (獻醜不如藏拙) is Loong's motto. That would bring shame to mentor Yam who is known to care about the reputation as reflected by this offspring (子侄) shaped by her own two hands and introduced to the wider audience on 24 June 1972, TVB telethon event that was hosted for the victims in the June 18 landslide.

Comeback

In November 2004, in commemoration of 15th anniversary of her passing, her mentor Yam Kim Fai, Loong returned to the stage. Her work from 2005 onwards were considered the only game in town by
Lai Po Yu and many others^{[10][44][45][46]}
Repeatedly returning investors as well as three generations of returning and growing audiences, Loong remains the Cantonese Opera performer with best box-office record.^[13][47][48]

Decline to accept invitations

From September 2005 to September 2008,^[G] Loong performed 80 shows to full houses (mostly full version of two titles^[49]) for charity purpose in Hong Kong and Macau. Having had a Microscopic surgery just two months ahead and not yet fully recovered in 2006, Loong took on a very demanding, physically and emotionally, iconic role as male lead in Di Nü Hua as already scheduled. (Her absence would mean huge financial loss for the investor but not for her since she was not paid for those jobs.)

"Prepared but be spontaneous to keep the performance refreshing in every show, as if it were the first show even for the Nth time in the same role", a bar set by mentor Yam for Loong, resulted in close to 40 versions of each of those two titles. This requirement from mentor Yam explains the challenge for Loong to be on stage within a six-month period and provide 40 different (in some way in one or two acts out of total 6 to 8) but still GOOD interpretations without changing the show as a whole. This organic way, to hunt/harvest for the meal instead of "frozen" or "canned", was the only way acceptable to Yam and therefore set Loong apart from classmates or performers of a generation from early on.

That makes it worthwhile for those who pay for their tickets^[50] to be back every day for every show. Yuen talked about how the practice, by those who could afford would keep going by giving away tickets as a habit, damaged the business environment of the Cantonese opera community for good. That is, small businesses without deep pockets could not get audience to pay for tickets anymore.^[51] There was a report that backstage staff of even a particular performance, "cream of the crop" female lead and close to 70-year veteran, at one theatre was approached for expected free tickets.

Mentor Yam also inspired then young performer, Leung Hon-wai (1944－2011), that low audience turnout still would not warrant insincere or low quality performances (欺場冇衣食)^[52] even before Leung was on stage at Kai De Amusement Park Cantonese Opera Theatre. The reason is supposed to be that the single or two in the audience would have been the only and best word of mouth a performance would get that way. The reputation so resulted could make or break a troupe. (Leung was the villain, later played by Leung Sing Bor, in 1969 full version "Farewell, My Husband" - the debut title of Loong.)

22 February 2009, Leung and others talked about how, without star power as stimulus, to get audience back. Loong's name came up at such forum that was live-streamed on TV/radio in Hong Kong. In the 1970s, Loong apparently was the daily topic at lunch for white collars^[53] in Central (financial district of Hong Kong) and young girls^[10] (some still in school uniforms at backstage exits).

Talk of "basking in the glory" was a popular topic months^[45] before the 30 October UNESCO announcement, Loong did not join fellow performers on one of those days, 31 October 2009.

In 2009, 60th anniversary of the People's Republic of China, a series of celebration activities were held in Hong Kong,. Loong was invited as one of two special guests "specifically 31 October (Saturday) 特邀嘉賓" in Cantonese opera gala to celebrate National Day to perform in the Hong Kong Coliseum.^[54]

In August 2010, when a new manuscript was sent to her in Canada,^[55] Loong replied within couple of days that she had no plan to return to stage.

In 2011, Loong refused to give a seminar or a speech when requested/threatened/extorted, depending on the yet to be disclosed exact communication between the event organizer and The Hong Kong Academy for Performing Arts (HKAPA). The investor booking Lyric Theatre, HKAPA, was required to donate HK$500,000 eventually. Being exposed, one anonymous HKAPA student complained about their benefiting from such a demand not taken as righteous work of HKAPA.^[56] 2012 CD released as a result, Loong paying back the investor in full and some more, had not been reported so far as such. Easy Come Easy Go. Neither were there any announcement, advertisement, ceremony, plaque or bursary in Loong's name yet. How the investor squandered that in the following venture was implied in some reports.

Rod Tidwell in Jerry Maguire would have said: "Show me the money!"

However, Loong has no cult of personality character (沽名鈞譽) in her.

Since 2014

Loong described the sessions with new "love interests" as sharing all she learnt, about being a female lead, with performers who were too young to be in the audience from 1973 to 1992 (Loong) or way back from 1956 to 1969 (Yam). However, she did not take in pupils or students, if not for a fee, to elevate herself as many do in the Cantonese opera community. Instead, she called them "young ladies" in radio interview (Vancouver, BC) when three of them visited her to get some rehearsals and training done for the 2015/6 event. Loong sat idle waiting for rehearsals back when she worked with female leads who were being trained right in the middle of a rehearsal/review session. Having had those close encounters as a male lead on top of having been trained for other female roles herself performed, though few and far between because of the voice she has, Loong put all those years/months/days/hours of observations/trainings to good use. Cherie Chung is said to be a fan of Loong because of her (female role) performance in The Handsome Pan'an.

Excerpts of Cantonese opera by Lung Kim-sang^[57]

In 2014,^[58] Loong, for the first time, shared stage with and opposite new "love interests" to commemorate the quarter of a century since the passing of her mentor Yam. Cheng Nga-ki^[H] (鄭雅琪) and Li Pui-yan, Eliza^[H] (李沛妍) were chosen as the new "love interests". They travelled to Vancouver BC for intensive training in September 2013 but the announcement was not made until April 2014.^[59]

Title of this event in Chinese is "Ren Yi Sheng Hui Nian Long Qing" (任藝笙輝念濃情), a series of 25 shows in tribute to mentor Yam's iconic roles and AAA (art, acrobatics, acting) on stage.

Program detail

Two acts from The Peony Pavilion

1. 
   "A walk in the Garden / The Interruption of a Dream" 《牡丹亭驚夢之遊園驚夢》


2. 
   "Spectral Marriage" 《牡丹亭驚夢之幽媾》

--- Intermission ---

Four acts from The Purple Hairpin (plot)

1. Recover a purple hairpin 《紫釵記之燈街拾翠》


2. Departure 《紫釵記之陽關折柳》


3. Meet "Yellow Gown" 《紫釵記之花前遇俠》


4. Reunion 《紫釵記之劍合釵圓》

Controversies

1. In 1964, in mentor Yam's costume, Loong first performed the first act opposite assistant tutor (Miss Lee, 大師姐李居安) for the press as graduation report. In the second act, the way, acrobatics in particular, Loong performed on stage, as has been the protocol for all performers that followed. In 2014, Loong did not follow what used to be the routine she created in the two acts from The Peony Pavilion.


2. "A Walk in the Garden" received mixed reviews from audience and critics about the use of abstraction by acrobatics instead of a physical "swing" on stage for the "love interests" to sit on.


3. The "Yellow Gown" was wearing an orange gown.


4. The choice of Meet "Yellow Gown" instead of the act before, Decline to Accept Marriage Proposal, which is generally accepted as one of the two best reflections of mentor Yam's martial arts background on stage as "clean-shaven scholars". (In 2005/6/7, Loong has already illustrated (走鑼邊花) on record the other well-known performance of mentor Yam in the second-to-last act of Di Nü Hua)


5. Loong could not hit the high note in December because of a cold. She managed to perform as scheduled just by avoiding high pitch, that is, modifying the intonations when necessary. Technically, a computerized pre-taped version could have been used but Loong did not resort to cheating.


6. Veteran audience noticed that the new "love interests" are almost half-foot taller than Loong's usual co-stars for 55 years.

The Purple Hairpin

Early 2015, the Press praised the effort in 2014 and called for continuation of such opportunities in the future for other up-and-coming performers of other main roles.^[61] Loong answered the call by announcing the 2015/2016 event in January 2015. The two new "love interests" for this full version are following the first one in Vietnam, then in 1973 the youngest classmate from 1963 and lastly a classmate from 1960.

The 2015/2016 Lyric Theatre, HKAPA, follow up is a 16-shows opportunity for group of all, but Loong, up-and-coming performers in main roles in front of nightly crowd of over 1000. Loong's effort, headlining The Purple Hairpin (龍劍笙:紫釵記全劇) on 16 nights and keeping the role of Li Yi (李益
), is supported by Artistic Director Yam Bing Yee (任冰兒), younger sister of mentor Yam.

In 2015, Loong has also, for the first time ever, taken Man Wah^[H] under her wing as understudy to play the same character Loong played as understudy for mentor Yam in 1968/9.^[62]

Two up-and-coming performers, Leung Wai-hong, Wyborn^[H] (梁煒康) and Lai Yiu-wai, Keith^[H] (黎耀威), completed the six main members (六柱制, six pillars system in Hong Kong) of this event and played three characters (the two^[63] created by Leung Sing Bor and one created by Lang Chi Bak) between them.

Choreography of those scenes already performed in 2014 were re-arranged/re-designed in 2015 and again in 2016 to a more demanding pattern. The bar was raised for the "love interests" and other pillars as well.

Musicians of live band were required to go back to the "original" rhythm/beat in tribute to mentor Yam's "crisp (brisk, forceful & clear)" 爽快 vocal style.^[7]

In 2004, Loong expressed such desire already but in vain.

"Over years, legacy projects of mentor Yam, being staged frequently, have become a very poor quality stencil instead of a xerox with the best technology available." - according to one contemporary librettist.^[15]

Law, a peer of Loong, called the most active performers a '2nd' generation compared to himself as 'tier 1' generation and those being tutored by various NGOs as '3rd' generation. The '2nd' generation^[11][12] were in the audience in the 1970s and 1980s to observe Loong performance. From 1973 to 1992, Loong was fully engaged in multi-generational competitions, dueling^[10] at times, as the youngest among them.

Loong summarized^[64] her own role as "showing this particular generation how Cantonese opera was done" in her time. No director, choreographer, set designer or costume designer was hired^[49] like back in her days as career performer. Male leads, the breadwinners, take all these roles generally.^[65]

She had some of these performers in Vancouver BC for training in April 2015. In Hong Kong, she had all performers for training/fine tuning/rehearsal since late August 2015. For these performers' benefit, Loong played all characters, singing, acrobatics and acting included, opposite them in one-to-one rehearsals or just to show them how to improve. Loong also shared from memory the cliff notes (私伙介口), individual manner original cast played those characters. Loong shared the stage with the original cast in 1968/9 and then the rest of their lives.

Responses

1. Veteran audience praised Loong spending a year to fine tune a complete set of performers of all six generic positions.^[64]


2. Looking perfect as lovers on stage opposite new "love interests".^[66]


3. As if Yam Kim-fai were back alive on stage.^[67]


4. With "Loong Kim Sang" as brand name, Loong is THE Male Lead and illustrated again the Yam's AAA of Cantonese opera.^[68]


5. Yam "crisp (brisk, forceful & clear)" vocal style^[7] was in full display when Loong portrayed the Li Yi character in two scenes, Decline to Accept Marriage Proposal and Princely Favors.^[69]


6. Loong demonstrated how to build the character up with frequent but small body movements.^[69]

The Peony Pavilion

The Peony Pavilion was one of the five titles mentor Yam shared the stage with Loong and classmates in 1968/69/70. Chu (1972 in orange dress) and Koi (1972 in green dress), instead of Loong, shared the two characters usually played by second male lead in this title. Chu was the emperor while Koi (1941－2007) was the cousin. They did not have much interaction with Yam on stage. (That may or may not be the reason, as an exception, Loong did not get to play these.) Chu talked about her own experience in an interview as to how to cope with realizing the wrong name out of her mouth and the mentor Yam who could deal with it.

Another highlight of this title is the major role of second female lead, originally (as well as in 68/69/70) played by Art Director Yam Bing Yee (任冰兒), younger sister of mentor Yam. She was part of the main theme of original Act One in 1956 but not since. Audience was not patient to see the first and second female leads on stage for over half an hour before the character played by mentor Yam showed up. The third female lead, the younger nun, had scripted interaction with mentor Yam but did not get good review.^{Issue#108/116/122[B]}

Putting full version of this title (Chinese: 龍劍笙 - 牡丹亭驚夢全劇) on stage in 2017/8 completed the 2014 event in remembrance of mentor Yam.

A Romance of Pear Blossoms

Only two of the young performers who are in their early 30s and joined Loong in 2014 remain in her team of six pillars; Cheng Nga-ki as the female lead and Lai Yiu-wai (Keith) playing a character created by Lang Chi Bak.

Also, Wyborn Leung returns to play a character created by Leung Sing Bor, third time in a row. Wyborn and Leung Sing Bor are not relatives but their physiques are very much alike. This is vital for the last few repertoires of Tang Ti-sheng who tailored the manuscripts to match the six pillars.

Wyborn's father, Leung Hon Wai who was a peer of Loong, worked closely with Leung Sing Bor for over a decade and talked about their regular trips to movie theaters on television. However, Wyborn was not raised to follow the path of a clown like Leung Sing Bor by his father who was very knowledgeable about that acting style, unlike those performers who took these roles only because they are fat and old. Neither did Wyborn have more than fat and old performers to guide him until Loong was looking for kids to work with a few years ago.

These are "kids" to Loong, the same way Yam called Loong and her classmates for years. Being the center of attention in that 1950s troupe at the make or break moment, Yam delivered and demonstrated her AAA on stage in 1957. Yam's performance over 60 years ago at debut of this repertoire launched or saved the now only known career of her co-star and usual plus-one for decades.

The Reincarnation of a Beauty

The kids have yet to learn from Loong, the only surviving male lead who worked on stage (day in, day out) with both Leung Sing Bor and Lang Chi Bak in this last repertoire of Tang Ti-sheng. Lang addressed Loong on stage as Mr. Pui (裴生) in Cantonese. That sounds very similar to Loong's birth name Pui Sang (菩生).

AAA on stage

AAA (art, acrobatics, acting) and stage presence, eye popping to Yam, described and compared to mentor Yam by Cantonese opera veterans and up-and-coming performers, as:

1. With grace or chic (瀟灑) and charm, take the stage (亮相), ooze charisma and enchant their audiences.^{[50][67][70][71]}


2. Loong's eyes (關目) can talk, according to Yip Shiu Tak, and communicate emotions to fellow performers and audiences, according to new "love interests". Some would swoon from just a glance upon them, according to Law. Yam Bing Yee (任冰兒), younger sister of mentor Yam, said Yam was born with a pair of eyes that shine on stage.


3. Natural with connotations coming from the heart according to their experience in rehearsals.^[72][73]


4. "Look effortless", comparing the mentor and protégée to someone taking garlic everyday that the aroma just comes off and one can feel it three feet away (Chinese: 完全沒有斧鑿痕跡),^[50] said Yuen, a peer to Loong. This veteran shared the stage with both Loong (including 2014) and Yam (only once according to himself in 2009 TV interview).

In 1999, the 10th anniversary of passing of mentor Yam, Loong disclosed the first time on camera, Yam's rule of thumb, "Be Natural" (Chinese: 自然就是美)."2015 Talk on the Rendition of Yam Kim Fai", as just about all those have been speaking publicly since 1999, referred to this term first coined by Loong.

Again in 2013 to 2016, Loong shared more of her "heritance" with up-and-coming performers. For example, the new "love interests" were asked to study meticulously the manuscript and to memorize the lines before meeting Loong in September 2013 for rehearsals in Vancouver BC. Moreover, Loong suggested that studying beyond their own lines would give them an advantage on stage generally.

No painting the town red. As ethical standard, Loong instituted in them responsibility to stay warm/eat healthy and compete only by performance on stage. (That was the manner Yam preferred, no fighting with classmates, per Chu, 朱 劍 丹師傅.)

Accolades

1990 Artists of the Year Awards in acting

Loong was awarded in 1990 the best actor's award by the Hong Kong Artists Alliance.

2016 IFPI awards

Loong, credited as Lung Kim Sheng, DVD "Zi Chai Ji (Quan Ju)" 紫釵記(全劇)^[74]

2015 IFPI awards

Loong, credited as Lung Kim Sheng, just received encouragement for her effort to remember her mentor Yam Kim Fai and pay-it-forward to bring up-and-coming performers onto stage in 2014.

DVD of the event "Ren Yi Sheng Hui Nian Long Qing" (任藝笙輝念濃情), one of the 2015 Best Sales Releases, Classical and Operatic Works Recording, was live recording of 2014 stage production.^[75]

Loong was one of "Ten Best Sales Local Artistes" (Order in Chinese Stroke Counts) for the third album after the award for two released in 2012.

2012 IFPI awards

Loong, credited as Lung Kim Sheng, DVD "Ren Qu Sheng Yun" (任曲笙韻) and "Long Qing Shi Yi Ban Shi Ji" (龍情詩意半世紀).^[76]

2011 IFPI awards

Loong, credited as Lung Kim Sheng, was awarded The IFPI Hong Kong Award for Excellent Contribution to Cantonese Opera IFPI (香港粵劇貢獻大獎).^[77]

1982 Gold Disc award

洞庭十送^[30]

Notes

No biography

YLC -
"梨園客(1986)". 細說任、龍、雛 香港 : 香港周刊出版社

第一章、第二章、第三章、第四章、第五章:雛鳳鳴一枝獨秀 (第76-104頁)、第六章

L -
"龍劍笙 - 細說當年". 創藝文化企業有限公司出版.

Loong was indicated by these authors to be the ONLY spokesperson on behalf of the group and had been the member-in-charge, giving a fairly comprehensive, accurate or not, account of the training years up to that point of time (late 1980s ?). Loong was indicated by this author to be the ONLY interviewee who spoke on behalf of the group. Please note that these are NOT biographies of Loong. There is NO authorized biography, by and of, mentor Yam or protégée Loong. They did not put themselves on a pedestal.

"Genius is one per cent inspiration, ninety-nine per cent perspiration"

Yam said to the Press (1962 to 1969) that it took hard work, studying meticulously and persistence, to say the least, for anyone with potential, to actually have a career in Cantonese opera down the road. Yuen and others talked about exactly what it took them in the past to get ready for their career in Cantonese opera when audio-visual device was not as readily available as today. This '3rd' generation has one problem they did not have - too many performances but too little time to learn. Following conversation was written mostly in Cantonese not Chinese.秘訣:功夫唔夠就衣食搭夠!【on.cc東網專訊】2016年09月28日 有何秘訣傳授給新血？兩人表示沒有秘訣，...最重要勤力及有恒心：「要多鑽研，花時間去浸淫，跟完師傅學咗基本嘅嘢，再要自己消化，將自己嘅優點加落去。」阮兆輝亦指不相信有天材。 ...「冇話邊代嘅，睇吓你有冇心，依家有好多演出場地同機會，但唔好嘅就係太多機會，佢哋冇時間去鑽研，以前我哋係要等機會。」阮兆輝則認為...：「以前我哋起身之後，除咗瞓覺之外，都係學戲，一係睇人哋嘅戲，唔會覺得辛苦，因為已經習慣咗。」...以前連錄影、錄音器材都很缺乏，學戲要全靠死背：「我哋靠個腦去記，唔記得就冇，所以要死背。」阮兆輝大嘆：「科技進步，但藝術退步。」 Yuen at some point only commented, when asked by some '3rd' generation, "a performance did take place" ("做咗") upon the end of a performance, according to himself. One HKAPA student's view here^[56] is definitely not reflecting the principle outlined above. Entitled is the impression given the report (in Chinese) that HKAPA took HK$23million without prior permission for benefit of even smaller than desired class size.

September 2005 to September 2008

1. 2009 UNESCO, The announcement of Cantonese opera being officially inscribed onto Representative List of the Intangible Cultural Heritage of Humanity had encouraged the Guangdong, Macao and Hong Kong SAR governments, the Under Secretary for Home Affairs, Ms Florence Hui, said today (30 October).


2. 2008 UNESCO, In collaboration with the Guangdong and Macao cultural authorities, we successfully enlisted the Central People's Government's support in September 2008 for applying to the UNESCO for inscription of Cantonese Opera on the Representative List of the Intangible Cultural Heritage of Humanity. The application is being vetted by the UNESCO and the result is expected to be announced before the end of 2009.


3. 2006 UNESCO, Official from Ministry of Culture of the People's Republic of China (文化部副廳長白潔女士) was accompanied by veterans (both deceased in 2016) as well as contemporary performers in the audience on 12 December 2006《戲曲之旅》第57期13頁


4. 2006 UNESCO, Lisa Lu 盧燕 was among the celebrities who attended the pre-function cocktail and then in the audience for 12 December 2006 performance.《戲曲之旅》第57期12頁


5. 2006/7 Di Nü Hua performances in Hong Kong and Macau (40 total). Retrospective October 2007 talk show on radio is available online. 2007年十月推出全新節目「細說帝女花」第1-10集，Yuen Siu-fai 阮兆輝指出，《帝女花》自仙鳳鳴公演後，被眾多小戲班帶出來在「遊樂場仔」演出，漸被更多觀眾認識，但以這樣文雅而有深度的一齣劇，之所以進入全城的意識範圍，則有賴七、八十年代大紅大紫的雛鳳鳴劇團把戲帶落鄉演出，而所謂落鄉的「鄉」，在其時已漸漸變成「都市」。...指出愈是有本領的演員，演這齣戲則愈能真正感受劇力，故演得更辛苦，並舉出戲中的張力為例...(第3-4集) some transcript in Chinese。Translation: Di Nü Hua has become this popular today is mostly by word of mouth since the mid-1960s being staged at Kai De Amusement Park Cantonese Opera Theatre and the performances of Chor Fung Ming throughout the 1970s and 1980s in newly developed satellite cities and towns were well received. The role of male lead is extremely heavy by design and demonstrates the ‘masculine’ traits of Yam style. The more organic actors/actresses in this role would find it more emotionally demanding. It was non-stop and exhausting after intermission. Yuen Siu-fai also opined that Loong learnt from Yam while all those since then learnt from Loong. This opinion is shared by Chan Kim Sing 陳劍聲（1949－2013）"說現時戲行的文武生那裏是學任劍輝，不過是學龍劍笙吧。" and many others. 葉世雄 (雛鳳鳴努力不懈 2003-10-28)【文滙報】:其次，由於教育水平提高，欣賞力也相對提升，所以曲詞較艱深的唐滌生作品也被接受。至於「雛鳳鳴」能成為七、八十年代最賣座的粵劇班，和這些因素有多大關係，則尚待進一步探討。..."新晉都有阿刨影子" 最後，我要指出行內人多忽視「雛鳳鳴」的影響力。..其次，八十年代在舞台出現的新晉文武生，有多少個不帶幾分龍劍笙的影子呢？..葉世雄 (仙鳳餘蔭造就雛鳳 2003-10-21 【文滙報】):"龍劍笙扮相俊俏，深受戲迷喜愛。"...不過，龍劍笙的「柔情」和「俊俏」，也許是「雛鳳鳴」吸引年輕戲迷的重要因素。


6. 2005 UNESCO, According to Lai Po Yu, (黎鍵), the Proposal for UNESCO Representative List of the Intangible Cultural Heritage of Humanity Application, had been rejected by the Central People's Government (PRC) as of 6 September 2005. "粵劇的弔詭" 《信報財經新聞》 2005-9-6

Up-and-coming performers

Law, a peer of Loong, called the most active performers a '2nd' generation compared to himself as 'tier 1' generation and those being tutored by himself, Yuen (also a peer of Loong) and some others through various NGOs as '3rd' generation. The '3rd' generation, age 50 or under, is being groomed to take over, as career performer in Premier League, as soon as possible.

1. 
   Cantonese Opera Young Talent Showcase - Artists (Ticket price: HK$120, HK$70) shared the stage with Loong in 2015/6 are Leung Wai-hong, Wyborn (梁煒康),Lai Yiu-wai, Keith (黎耀威),Cheng Nga-ki (鄭雅琪) and Li Pui-yan, Eliza (李沛妍).


2. A 3-part review outlined the threshold, the essential qualities, expected from career Cantonese opera performers (「職業班」) as per this columnist.

• End of first three years (2008-2010)

• 
  Part I 2010-12-14（上） 再不像乙組球員踢甲組。 Used to be Hong Kong Second Division League players in Hong Kong First Division League, now they belong in First Division League.


• 
  Part II 2010-12-21（中） 部分青年演員唱曲連分頓、上下句等基本格式也不懂；唱功有一定水平的，也在行腔轉調經常出現「沙石」，令人聽來不舒服。


• 
  Part III 2010-12-28（下） 「十年可以出一個狀元，十年卻出不了一個老倌」。...「老倌」代表的不僅是「出名」，更重要的是演員的造詣受到肯定。【文滙報】

• However, he noted that the (Hong Kong) Cantonese opera community does not support PUBLIC grading/assessment/examination since MANY GURU in the community would NOT "measure up". 戲曲視窗：藝術家要註冊﹖ 2012-06-12 「一位前輩坦白，他說現時沒有公開評核試，位位都是名師，如果有了公開評核試，很多人便沒法在梨園界立足了。」

• 
  Plum Blossom Prize 中國戲劇梅花獎 has been one award created and given out in PRC but not specifically for Chinese opera performers.


• 1990 Artists of The Year Awards in Acting that Loong was presented on stage (at intermission of "Goddess of the Luo River" 洛水神仙) by Lang Chi Bak 靚次伯 was one of the first ever given out to the Cantonese opera community from an organization of artists of all art forms. That organization did not give out the same title, or to Cantonese opera performers, regularly every year either. For example, 1997 recipient of same title is a Cantonese film actress.

References

External links

1. 
   Women Pioneer in Hong Kong, population Seven million, the Debut guest 7 April 2012


2. Lang Chi Bak was voted as the 'KING' among all performers in male warrior role "Mou⁵ Sang¹" (武生) in the 1950s, Hong Kong. Biography was released in 2006. 紀念一代武生王——靚次伯 文︰小華 2006年11月14日【文滙報】,Credited as Leng Chi Pak, 'King of Chinese opera' to step down at 72, New Nation, 20 October 1976, Page 4.


3. HK strives to revive Cantonese Opera's heyday."...once energized by legendary figures like librettist Tong Dick-san 唐滌生 and actor Yam Kim-fai." - China Daily/Agencies, 04 December 2009


4. 
   Yip Shiu Tak 葉紹德's Cantonese Opera Manuscripts (in Chinese and English) New Publication 12 Dec 2013


5. 
   Two peers of Loong - HK City Hall commemorative exhibition to revisit venue's glorious past ...and interviews with Lung Kim-sung (Loong), Yuen Siu-fai 阮兆輝, Law Kar-ying, ...and other artists on their various performances and experiences at City Hall. (03 March to 09 April 2012).


6. 
   Central Library exhibition to showcase treasured documents and collectables ... the souvenir booklet for the debut performance of the Chor Fung Ming Cantonese Opera Troupe (雛鳳鳴) in 1965 Excerpts only Performance. Jia Baoyu image therein was from 1964 debut of Loong for a charity event. Introductory description of Loong in booklet - "專攻文武生，擅長靠短打，文戲唱做細膩。舞台扮相尤其俊雅，清秀，風度翩翩，古代之貴冑王孫，痴情兒郎，虎威凜然之元帥，或少將軍，皆被她演的栩栩如生。唱做與身段，尤酷似「戲迷情人」任劍輝。": 龍劍笙 - 雛鳳鳴第一屆公演場刊


7. 
   Cantonese Opera Heritage Hall Exhibit Highlights Special Issue of the 2nd Performance of the Chor Fung Ming Opera Troupe (雛鳳鳴) in 1969 Full version of Island of Farewell. (Full Libretto pdf) Introductory description of Loong in booklet - "具大將之材!文哉武哉，長靠短打，不但勝重任，且綽綽有餘。扮相俊秀潇洒，如純美摇曳百合花。做工細膩深情，如海之懷有萬物生息。唱腔甜美圓潤，令人有啖蜜梨香荔之妙。人謂其酷肖「戲迷情人」任劍輝，自非過譽。": 龍劍笙 - 雛鳳鳴第二屆公演場刊


8. Loong was photographed getting ready as male lead for A Romance of Pear Blossoms in the late 1980s or early 1990s."龍劍笙(生角)化妝裝扮過程" (in Chinese). Archived from the original on 2002-10-26. This set of information has been on display in International Airport (Chek Lap Kok Airport) of Hong Kong with descriptions in both English and Chinese. For example, 13."A black satin kerchief is tied around the forehead to secure the positioning." and 14."A padded jacket is worn to augment the figure." - (Note: Both actors and actresses usually wear this kind of jacket.)


9. Chor Fung Ming Cantonese Opera Troupe, Souvenir program, Festival of Asian Arts, Hong Kong

OCLC：78654032 8th Festival, 1983. p 34-37. col. illus.

OCLC：80078105 9th festival, 1984. Articles on participating groups, ... including Chor Fung Ming Cantonese Opera Troupe, ...

OCLC：79208236 10th festival, 1985. p. 80-[85] col. illus.