Watching 织云潮剧团 For More Than 3 Decades
Singapore Local Teochew Street Opera Troupe

I would like to share my experience watching 织云潮剧团 for more than 3o years.

My family bought a flat next to the wet market in Lorong 1 Toa Payoh in 1969/70. I was very happy because during that time, whenever there was a market or hawker centre, there would be local street opera performances because the hawkers and stall holders would pool their resources together to offer their thanks to gods and the lunar 7th month good brothers. This wet market has been inviting the same Teochew opera troupe, ie 织云潮剧团, to perform on the 26th and 27th day of the lunar 7th month, every year, without fail. The performance in 1970 was packed with audience. I recalled 织云潮剧团 attracted more than 1000 people to watch their opera performance in 1970. During that time, this was the only Teochew street opera troupe that engaged the rope and pulley system where the actress could fly up and down on stage, mirroring what one could see in Chinese movies. The first ever performance I saw was 胭脂魂, a typical movie by 长城 Movie production. There was a scene where the actress hung herself and 织云潮剧团 did it by rope and pulley system. They also controlled the lighting very well and the whole stage looked eerie.

From the 1960s to 1980s, 织云潮剧团 and 新荣和兴潮剧团 were the heavenly kings of the Teochew street opera troupes. They were like NIKE and SWATCH. All the old and young teochew opera fans knew them. I usually stand in front of the wayang stage and had the opportunity to hear old uncles and aunties telling stories about the show, about these heavenly kings personal life, etc. They had many supporters. There is no doubt that the number of supporters for artistes in the 70s and 80s is comparable to those who supported Superstar Search or Singapore Idol. I watched 张廷芳 by 九妹 in the day, and 辞郎州 in the evening. Still, I could not fully understand what they were singing but the actions tell. It was very much later that my mum told me 张廷芳 was a fugitive and married many women to escape from his enemies. I appreciated the plot of 辞郎州 much later after having watched it many times.

It appeared that Teochew street opera was more popular in Toa Payoh. It was followed by Hokkien opera. Like that wet market in Lorong 1 Toa Payoh, the organizers would invite Teochew opera troupe to perform during lunar 7th month and Hokkien opera during the lunar 8th or 10th months. The organisers had to take turn because the market had hawkers of different dialect groups. I remembered there was a particular year where a Hokkien stall holder became the 炉主 (akin the Chinese god appointed him to take care of the event the next year) and he objected to engaging 织云潮剧团 for the subsequent year. There was strong protest because no one could guarantee if 织云潮剧团 would return again if not awarded the performance contract for one year. At that time, it was very difficult to engage a popular troupe if no prior arrangement had been made. Finally, out of peer pressure, 织云潮剧团 continued to perform at Toa Payoh Lorong 1 market even up till today.

All along my favourite teochew opera troupe from that day I knew how to appreciate street opera till now is still 织云潮剧团. I heard from my parents that this was the only troupe that sent their musicians to learn from 新天彩潮剧团. The way they beat the drum is very similar. Their titles were very unique. They put up performances which were adapted from Chinese movies including 胭脂魂 and 神雕侠侣 from 长城公司 in Hong Kong. There were no other Teochew street opera troupes that performed shows adapted from movies. They also put up performances like 雪飞王子, 穆桂英招亲, 斩韩信 and 王宝钏 which no other troupes had done so. They also put up 一门三进士 and 柴房会 many times.

How I wish all the reputable teochew opera troupes can maintain the standard of performance they had maintained from 1960s to 1980s.

I know it is only a dream.