2015年的第一篇博文 - 潮音有人听

潮音 - 我喜欢

我喜欢听潮音，您喜欢吗？

潮音也就是早期人们所称的纸影。

羊年一开始就接触了两次听潮音的机会，同样在本地高文地铁附近的巴杀欣赏本地新荣和兴潮音班的演出。第一场是在2015年2月27日当天，另一场是2015年3月21日。真的感激班主陈巧鸾告知，才有有机会亲临现场观赏演出。

2月27日那天除了有‘六国封相’，陈巧莲和陈红雅携手清唱‘桃花过渡’，然后是蔡秀珍和蔡乙凤联合清唱‘苏六娘’。

3月21日的演出可热闹呀！除了我，也来了几个面子簿朋友，大伙都是来支持潮音班和抓住偶像拍照。今天清唱‘六国封相’，‘京城会’和‘万古流芳’。今天也有幸遇到掌板前辈啊啦先生，虽然有一定的年纪了，还是照样使出看家本领，和新荣和兴潮音班全体艺人呈现最好看的潮音演出给大伙欣赏。



这里想谈一下蔡乙凤，她唱莊姬的唱腔真是太动听太迷人，我想若她有机会再粉墨登场演出‘赵氏孤儿’，肯定迷倒千千万万的戏迷。

‘万古流芳’这部戏可真是流传万年。 新荣和兴潮音班之前也是新加坡有百多年历史的著名新荣和兴潮剧团。该潮剧团在结束戏团演出的最后一场戏，也是演出‘‘万古流芳’。

之后我也看过织云潮剧团，老赛桃源潮剧团和泰国赛荣丰潮剧团演出这部戏，戏牌大多以标出’赵氏孤儿‘这戏名。

我小时候有接触过潮音，不过没什么留意。因为那时候有庆中元活动时，好多炉主都同时聘请戏班和潮音班在同一个地点演出。戏班搭在一旁，潮音班就在棚里演出，当然是演员众多，服饰鲜艳，文武场都有的大戏比较能吸引观众。

亲临酬神地点听潮音是近几年才开始的。一听就爱上它了。怎么说呢？

清唱时演员都是坐着唱，不需要走台步，慢走快奔，动刀动枪，唱出来的效果就很不一样，有如播放黑胶唱片时听到的音乐和歌声，太美了。有时大伙帮声，那尾音就让人听出耳油。

2012年9月6日有幸听到本地新新荣和潮音在义顺清唱‘碧玉簪’，实在太兴奋了。我熟悉的潮剧经典以潮音方式呈现在我面前，一个字，爽！和老板娘邱玉凤，小生冯子明以及几个主要演员很熟悉，所以拍短片时没压力。



过后也在同一个地点，听新新荣和潮音唱出‘赵少卿’，还碰到部长来探班呢！

2014年开始才有机会听新荣和兴潮音班唱出多部经典折子戏。2014年7月14号下班后赶去后港听新荣和兴潮音班清唱，那晚有我喜欢的‘义民册’， 老生莲唱得实在棒，还有陈红雅等也配合得很好。

那晚也有蔡乙凤和蔡秀珍携手合唱‘井边会’，哎呀真的没亲临现场真的不知道原来新加坡还有那么出色的潮剧/潮音艺人，简直是少有的绝配和难找的合唱组合。谢谢陈巧鸾班主告诉我演出的地点，过后也认识了几个主要成员陈巧莲，蔡乙凤，蔡秀珍，陈红雅等音乐时，还有当晚掌班的郭安迪。

过后，一有机会就去听潮音。新荣和兴潮音的‘杨令婆辩本’和‘闹开封’也是不容错过的。



 

还没有机会观赏老赛桃源潮音和新赛宝丰潮音清唱，希望有那么一天。

好久没写博文了，写得不好还请见谅。近期比较常在面子簿交流。

Teochew Opera 新荣和兴潮音 - 杨令婆辩本 完

新荣和兴潮剧团的旧照片
新荣和兴潮音班的最新唱段
杨令婆辩本

潮剧‘杨令婆辩本’（纪念著名潮剧表演艺术家洪妙先生）百看不厌的潮剧折子戏‘杨令婆辩本’、又称‘辩本’，‘辩十本’。洪妙先生代表剧。

最近从陈巧鸾老师那里拿到一些新荣和兴潮剧团以前演出的照片，多数的照片都是很精美的。下面这一张‘杨令婆辩本’真的拍得很好，挂上博客与大家分享。

阳历9月9日，也就是农历八月16，槟城文虎弟到访。他在潮艺馆演出‘三哭殿’时，认识了陈巧鸾和陈巧莲姐妹，所以就在抵达新加坡当天探班。难得学校假期，老婆比较有时间，她也跟随我们一起去听潮音。也和新荣和兴潮音班几个姐妹一起拍照。

                       

那晚，新荣和兴潮音班再一次清唱我最喜欢的‘杨令婆辩本’。 过后也唱了‘金花女’。

杨令婆辩本唱词：

宋仁宗：摆驾。
太监：领旨。

宋仁宗：（唱）早朝才罢，转驾西宫，忽报天波杨太郡，来到金銮敲龙钟，朕只得，
离凤楼，看一宗。传旨叫内使。
太监：奴婢。
宋仁宗：（唱）有请太郡登殿中，搀扶她身，来见寡人，来见寡人表奏情衷。
太监：领旨。传旨。
杨令婆：何旨？
太监：万岁有旨，请老太郡上殿。
杨令婆：领旨。

杨令婆：（唱）忽听我主登殿中，潜步见驾朝金銮，恭祝我主万万岁，臣妾顿首殿旁
椅中。
宋仁宗：（唱）太郡平身赐绣墩。
杨令婆：（唱）谢过了龙颜恩意隆。殿旁端坐锦绣墩，臣妾一本表微衷，臣妾一本表
微衷。
宋仁宗：老太郡亲自上殿，有何表章进奏。
杨令婆：只因我朝政事，屈斩忠良焦廷贵，故此亲临上殿保奏。
宋仁宗：老太郡，六部已经判明，那焦廷贵，有欺君误国之罪，老太郡，你须知，这
王法无亲，国法无情哦。
杨令婆：哦？好个王法无亲，这国法无情，照臣妾看来，我主若欲斩了焦廷贵，这王
法就有所不明哦。
宋仁宗：有何不明，就该修表奏朕。
杨令婆：修表不及，一本口奏。
宋仁宗：奏来。
杨令婆：容奏。
宋仁宗：众卿端坐，听太郡口奏。
庞洪、韩琦：领旨。
杨令婆：：（唱）一本……口奏。
宋仁宗：奏来。
杨令婆：（唱）表衷情。为护朝纲为护朝…朝纲保……保忠臣。宋室江山靠良将，我
主方得坐龙廷。朝廷设律定国法，善恶判断有分明。廷贵今日虽犯国法，也
需念他捍卫边境，为国忠贞。况兼伊父焦赞，护助先王安社禝。南征北战丧
其生。焦家遗下此一脉，理当源情罪赦轻。
宋仁宗：太郡所奏，朕本当准之，怎奈大胆焦廷贵，目无王法，此罪难赦。
杨令婆：为何难赦？
宋仁宗：太郡啊…（唱）太郡不知廷贵犯大逆，目无王法，妄为妄行。朕命孙武往三
关查仓库，他竟敢殴打钦差，辱了朝廷。老太郡哙，此罪该斩不该斩，该刑
不该刑？
杨令婆：（唱）不该斩来不该刑，可将孙武先治罪行。既是奉旨三关查仓库，为何仓
库不查明。却欲勒索我孙财帛，岂非有辱我主圣德？难怪廷贵将他殴打，我
主还该把孙武先定典刑。
宋仁宗：（唱）孙武勒索无凭证，岂可将他来加刑？
杨令婆：（唱）孙武勒索既无凭证，廷贵殴打钦差，又有何人证明？
宋仁宗：（唱）西台御史已查明，廷贵也已自认招供。朕正按律来处斩，这叛逆之臣
留之何用？
杨令婆：（唱）纵然廷贵自认招供，我主判处有你不明。家人有罪及家长，何将廷贵
来治刑？三关去召我孙返，当殿六部来议明。若是我孙有不法，老身也无相
容情。
宋仁宗：太郡所奏理分明，真是为国一忠贞。提起你孙宗保，罪也有万重。（唱）胆
敢通番卖国，通番卖国谋反大逆。
杨令婆：（唱）说乜通番卖国，说乜谋反大逆。我孙若有叛逆事，阮合家愿受极刑，
正免败辱天波无侫府，为国勤劳名不清。
宋仁宗：（唱）为国勤劳，当护朝廷。寡人就因他是忠臣子，才有封他大元帅，此任
非轻。前日狄青失了征衣，也无将他来加刑。怎知他又屈杀李成与李岱，赏
罚不明。致到李沈氏来到金銮告御状，哭诉哀鸣，朕赐红缧七尺三关去，赐
他全尸自行幽冥。论起此罪，本当斩首。
庞洪：不错，启奏万法，论起国法，应该斩首。
韩琦：启奏万岁，罪有未明，斩不得！
庞洪：斩得！
韩琦：斩不得，斩不得！
庞洪：斩得，斩得！
韩琦：哼哼！
杨令婆：住了！奸侫你啊！（唱）听闻言怒气冲升。枉你人君一国主，疏远忠良邪狎
奸侫。都是庞洪你这老奸侫，欺君瞒主捏造虚供。教唆沈氏来告御状，欲害
我孙丧幽冥。倚仗你皇亲国戚，你女不过小小西宫。敢来欺我杨门，你个眼
中无睛。国家今日欲衰败，正来听了庞洪老奸侫。昏君今日听谗语，败坏朝
纲乱国政！
宋仁宗：（唱）太郡不用恼气生，朕为九五之尊，哪有逆施倒行？
杨令婆：（唱）既无逆施倒行，沈氏告状你何不察明？那李成冒功罪该斩，宗保为帅
赏罚分明。你却来听信谗言，欲害我孙丧边庭。你啊，你……你不记得，
你不记得当元初先王五台还愿，被困在梵王宫。大郎延平替主归阴府，二郎延定
沙场丧生。可怜三郎延辉英雄汉，马足之下丧其生。四郎延亮流落番邦去，
落在幽州寄云宫。五郎延德削发五台山，飘然云水成孤僧。臣妾丈夫李陵碑
下死，七郎延嗣乱箭穿心胸。亏我合家为国尽忠死，单存六婿延昭归回程。
北辽屡次来侵犯，也着杨家捐躯献身。若无宗保来护国，你个江山安得太
平？天门摆下七十二阵势，一阵解围万万生灵。十八寡妇征西番，战得汗马
血淋身。日无饱餐一顿，夜无安睡三更。东西征，南北讨，尽报朝廷。到如
今，只存我孙一脉，你就欲断绝杨门香丁。想当初先王有道报臣子，正有建
立天波亭。如今忘却忠臣后，就是无道昏君失政！庞洪是个卖国贼，祸国殃
民蒙圣听。西台御史沈国清，朋比为奸乱朝政。老身手持龙头杖，定打昏
君，定打昏君与奸侫。
庞洪：哎呀！
宋仁宗：老太郡，不可，不可啊！
庞洪：韩琦：老太郡，不可不可啊。
庞洪：不可啊！
宋仁宗：内侍，保驾！
庞洪：不可啊！
大监：老太郡仔细。
庞洪：万岁，万岁啊。
宋仁宗：你啊，你啊。
庞洪：哎呀！哎呀！
韩琦、太监：不可，老太郡，不可不可啊！老太郡，不可不可！
杨令婆：昏君啊昏君，廷贵若不赦罪，即刻召来宗保狄青，定欲与你闹到南清宫啊！
庞洪：害！害！害！连皇帝，也有人敢打，朝廷到这来差唔多要衰了。
宋仁宗：韩琦：呸！
宋仁宗：太郡啊！（唱）太郡宽容息雷霆，此是寡人，此是寡人一时不明。待朕降旨
三关去，召回宗保与狄青。暂且赦了焦廷贵，候待六部再议明，候待六部再
议明。（白）传旨内侍。
太监：奴婢。
宋仁宗：寡人有旨一道，命你前往三关，召回宗保狄青进京，再勒旨一道，前往甲
场，赦了焦廷贵，囚禁天牢，不得违旨。
太监：领旨
杨令婆：且慢，启奏我主，廷贵若是囚禁天牢，恐怕朝中奸党作弊，待臣妾带回天波
府，候待我孙回京，才可议明。
宋仁宗：太郡保奏，朕当准之。传旨内侍。
太监：奴婢
宋仁宗：寡人有旨一道，命你前往甲场，赦了焦廷贵，带回天波府，候待宗保狄青进
京，再归案审办，不得违旨。
太监：领旨。
宋仁宗：来，搀扶太郡下殿。
侍婢：领旨。
杨令婆：（唱）臣妾辞主下金阶，有日我孙回京来。奸侫害人总不久，平反冤鸣罪难
开，平反冤鸣你罪难开。
韩琦：奉送。
庞洪：奉…奉…奉送，哎！
庞洪、韩琦：请驾回宫。
宋仁宗：退班。
庞洪：哎…哎！
韩琦：哈哈哈哈……
庞洪：呀呀呸！
韩琦：呀呀呸！
庞洪：哎呀，可恼，可恼！哎……

Growing Up with Teochew Opera - 11

Singapore's Professional Teochew Opera Troupes

新加坡的职业潮剧戏班

50年代到90 年代的新加坡潮剧班早期的新加坡有好多水准相当高的潮剧班。

1. 新荣和兴潮剧团 （2001年1月14日解散）


2. 老赛桃源潮剧团

3. 老一枝香潮剧团 （解散）

4. 老正天香潮剧团 （解散）

5. 新荣艺潮剧团 （解散）

6. 老玉春香潮剧团 （解散）

7. 老三正顺潮剧团 （解散)

8. 老中正顺潮剧团 (解散）

9. 织云潮剧团

10. 新一天彩潮剧团 （解散）

记忆中，在70年代到80年代初演出的新剧班有：

11. 老玉楼春潮剧团 （解散）

12. 驼江潮剧团 （解散）

13. 中源和兴潮剧团 （解散）

14. 老富贵春潮剧团 （偶尔有演出，但很久没看到该班演出，应该解散了。）

15. 正天香潮剧团 （偶尔有演出，但很久没看到该班演出，应该解散了。）

16. 金鹰潮剧团 （2007年2月11日解散.)

在2000年前后成立的新潮剧班有：

17）新怡梨兴潮剧团

18）新新荣和剧团 （从潮音班成立的,勇气可嘉。）

在50年代，可能还有多几班潮剧班，若找到资料会加以补充。现在，我和其他潮剧戏迷唯有看海外的潮剧戏班和VCD了。

Growing Up With Teochew Opera - 8
New Local Teochew Opera Troupes In 1970s/1980s
七八十年代成立的职业潮剧班 - 潮起潮落

I recalled that Teochew street opera was at its peak in the late 1970s to early 1980s. If I were to use 潮起潮落 or 'The Rise and Fall of Teochew Opera Troupes in Singapore, that was the period of 潮起 or the golden age of Teochew opera troupes in Singapore.

In the late 1970s, new local Teochew street opera troupes like 中源和兴潮剧团 and 老玉梨春潮剧团 were formed. The actresses who played the male in each of the two troupes were from 织云潮剧团. I could tell because I watched their performance before. During that time, 织云潮剧团 had too many 小生 or male leads. Some of the common names are 月燕, 明琴, 莫尼, 钟喜坤, 珠华,淑真, 淑兰 etc. For a typical 4.5 hours perfomance, they took turn to perform. And at that time demand for Teochew opera was fantastic. I recalled there were plenty of opportunities to watch Teochew street opera. 中源和兴潮剧团 put up a very respectful maiden appearance, 刘璋下山 and 老玉梨春潮剧团 performed 绿牡丹.

In the early 80’s, another new opera troupe called 金鹰潮剧团 was formed. The main leads were from 新荣和兴潮剧团. They were 邓道兰 and 陈珍珠. They performed 斩十八翰林 and 屠夫状元 as part of their maiden appearance at Hong Lim Park where the opera festival was held. 织云潮剧团 also staged a 2 episodes performance called 仁义公主. I traveled from Toa Payoh to Hong Lim Park by bus just to watch the performances.

After the formation of 金鹰潮剧团, 新荣和兴潮剧团 was at the verge of folding up. Not only the key leads were gone, the shows they put up were very limited. If I recalled correctly, they invited one of the former lead actresses 陈巧娇 to perform a few months. That did not not create any significant impact as the shows like 女状元 and 渔女鸣冤 (I hope I remembered the titles correctly) did not excite the audience much.

In the early 80’s, another opera troupe 新一天彩潮剧团 got some financial backings and strengthen their pool of actors and actresses including inviting 细妹 who had quitted from 新荣和兴潮剧团 to come back on stage. They put up two performances, 借剑 and 秦原闯道. At that time, 细妹 had the habit of forgetting the lyrics and had to depend on the co-actors to help her with the singing. Some audience said they would not mind as Soy Muay had not been performing for many years. Later, she joined 金鹰潮剧团 as one of the many 小生. I saw her pefroemd in 柴房会 and 一门三进士 at Whompoa market and 刘明珠 in Ang Mo Kio.

陈楚蕙 and 张应炎 has also paired many times for the show 借剑. Besides the LP recording, 新天彩潮剧团 also performed this show in Thailand in the 1980's and staged the same performance in year 2004.

In the 90’s, there were two sub-standards opera troupes that were invited to perform mostly during the lunar 7th month hungry ghost festival. 正天香潮剧团 would perform 碧玉簪 (The Jade Hairpin) every now and then. That 小生 was actually the one who played the role as 花旦 in 新荣艺潮剧团 previously. She was called 庄玉花. My mum said she was trained as a child-artiste in the 60’s by 新荣和兴 and later became one of the 4 beauties. Another troupe, 老富贵春潮剧团 only emerged in the 90’s I had little patience to watch their performance. Many of the actors and actresses were either too matured or overweight.

I shifted to Yishun in 1988. I traveled to a few places to watch Teochew opera as there were fewer Teochew street opera performances in Yishun. I traveled to temples in Ang Mo Kio, the Tua Peh Kong temple at Balestier and Whompoa market quite often in 1994/5. That was the time 细妹performed male lead at 金鹰潮剧团. The two popular shows, 柴房会 and 一门三进士 attracted a lots of people. I must confess that the standards at that time were on par with 织云潮剧团. 细妹had also made significant improvements in her acting skills. I also watched 老赛桃源潮剧团 performed 柴房会 at 粤海清庙 at Raffels Place in 1996. 柴房会 is also a popular 折子戏 amongst China Troupes. See picture below.

I am not a typical fan who monitored the schedules of troupes’ performance closely. So long as I was informed of the location, I would proceed if I had the time and pocket allowance to travel. One such source came from my eldest sister who worked in a factory and she had many friends who stayed in Toa Payoh. I personally think 织云潮剧团 and 金鹰潮剧团 were the better troupes as they have good looking 小生 and 花旦, and 老生 with good voice like 张应炎, 老丑 as good as 陈文昌 of 新天彩潮剧团, a lot of supporting actors/actresses to play the role as soldiers and maids, etc.

新荣和兴潮剧团 at one time was on the verge of being closed down after the key lead actresses left for 金鹰潮剧团. Gone are the days where we could see 九妹, 细妹 and 细细 performing 辞郎州. Then, 陈巧鸾, the manager of the troupe came to inject new life into 新荣和兴潮剧团. She was a very talented actress but think people commented that she was a bit proud. She played the role as 杨令婆 in 杨令婆辩十本 very well. The original performance was put up by 洪妙, a male actor from China, who disguised himself as 杨令婆.

I also watched her performed in 赵少卿, 张春郎, 春草闯堂, 南北双英 etc. Unfortunately, the troupe had folded up in 2001 as she claimed that the income was not enough to defray the expenses. It performed the last show in Yishun after a solid 174 years of history in Teochew opera. The troupe performed 万古流芳 [An Everlasting Legacy] as their final performance in Yishun.

See some newspaper collections on the last performance staged by新荣和兴潮剧团.

Actually, prior to 2001, many Teochew troupes were folded quietly. May be they were not as popoluar as 新荣和兴潮剧团 and it did not capture the attention of the media. Some of the troupes were 中原和兴潮剧团, 老三正顺潮剧团, 老中正顺潮剧团, 驼江潮剧团, 新荣艺潮剧团, 老玉梨春潮剧团, 老正天香潮剧团, 老一枝香潮剧团 etc. I think 潮落 or the fall of Tecohew opera troupes took place in the late 1990s.

Growing Up With Teochew Opera - 6

Teochew Street Opera And Hungry Ghost Festival - 3

与潮并长

During the mid 1970s, I had no problem appreciating the performance and could really understand what they were singing. During peak season like the lunar 7th month hungry ghost festival, every troupe would arm itself with two titles and perform the same two titles at different locations throughout the whole month. This was because it was very expensive to hire them during 7th month and each performance would only last two nights. The troupes would put up their best performance and invest in new costumes and headgears.

How did I know about that? Again, it was from those old uncles who stood in front of the stage. The moment someone on stage hung a notice (usually a rectangular blackboard) on the left side of stage facing audience, it would stir a moment of excitement as the audience would like to know whether the show was new or a repeat. I was amongst one of them. I would normally run to the nearby public phone and ring my mum about the title even though she might not be keen to come down and watch.

I would travel from marketplace to marketplace to get to know the pattern of street opera appearance for the whole of lunar 7th month within Toa Payoh. Sometimes, I would not mind seeing the same performance again if there was only one troupe performing because it was really very ‘shiok’. Take 26th and 27th day of the 7th lunar month as an example. I would watch 织云潮剧团 at my place. If I had seen the performance before, I would walk to Block 73 where another Teochew Opera troupe would perform. In the early 1970s, it was 新一天彩潮剧团. This happened only during the lunar 7th month hungry ghost festival. I wanted to watch a variety of troupes since I had all the opportunities to see 织云潮剧团 more often than the others in Toa Payoh. Also, by doing so would allow me to know the shows that the other troupes had prepared and the standard of their performance.

Someone asked me whether I had ever seen the 斗戏 between two Teochew opera troupes. My mum and eldest sister told me something interesting. They said there was once an aunt in JB somehow knew the schedule and my mother and a few of us came over to Singapore to watch. One location was at the then Tik Pasat (literally means iron market) at Beach Road. The market had since been demolished and she said should be the site where Golden Cinema is currently located. 新荣和兴潮剧团 and 老赛桃源潮剧团 staged side by side. Obvious winner was 新荣和兴潮剧团. My mum said 新荣和 “ngia char boh” (beautiful women), 老赛桃 “tua loh koh” (loud drum beat).

Another location is by the name of a temple called 金兰庙. 织云潮剧团 and 新荣和兴潮剧团 entered into the 斗戏. In JB, they said somewhere in Sing San near Sing Lau Yah Ken ‘new temple in dialect’, Teochew, Hainanese and Hokkien opera staged three in a row to 斗戏.

I did my National Service in the early 80’s. That was the time the street opera troupes were most appreciated and signs of decline emerged. I remembered I was very excited if the 26th and 27th day of the 7th month coincided with weekends as I could book out to watch 织云潮剧团.

Think the lunar 7th month hungry ghost festival is widely celebrated by Chinese in countries like Malaysia, Penang, Thailand and Hong Kong. The organizers would invite either their local street operas or invite some local pop songs singers to perform during the celebration. Other than the lunar 7th month hungry ghost festival, Chinese also have many celebrations for their gods and deities in almost all the even months of the lunar calendar.

Growing Up With Teochew Opera - 5
Teochew Street Opera And Hungry Ghost Festival - 2

街戏与庆中元

During the 1970s, over at Lorong 5 Toa Payoh, 新荣和兴潮剧团 was the only troupe invited to perform at 修德善堂, during every lunar eight month. It was a very popular troupe during that time and it was my mum’s favourite troupe. Now that 新荣和兴潮剧团 had folded up, I understand that老赛桃源潮剧团 has taken over the slot.

My family stayed in Block 126 at Lorong 1 Toa Payoh. It is near the only wet market in Lorong 1. I was very happy because during that time, whenever there is 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 7th month good brothers. Like the temple at Lorong 4, this market has been inviting the same Teochew opera troupe to perform on the 26th and 27th day of the lunar 7th month every year. The first year in 1970 was packed with audience. It drew more than 1000 people to watch the opera performed by 织云潮剧团. 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 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 lightings very well and the whole stage looked eerie.

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 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 70’s and 80’s 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.

The photo below shows the two main leads of 织云潮剧团, ie 李淑真 and 珠华 taken in year 2008. To me, they still look good. The quality of their voice is still very solid.

There was an open space outside Block 68 Lorong 5 Toa Payoh where I went there quite often too. I remembered 织云潮剧团 performed that classic opera 三看御妹刘金定. There was another popular wayang performance place at a car park outside Block 102 (It is now very different as new blocks had been rebuilt. Just outside the Yellow Page building.) Lorong 2 Toa Payoh. I watched 老三正顺潮剧团 performed 七子救驾 (literally means 7 sons saved emperor, a story about the Yang’s warriors in the Song Dynasty). 老中正顺潮剧团 also performed there. 新荣艺潮剧团 performed 双龙争凤 (the plot is about Two Dragons Competing for a Phoenix) there and my mum and I watched that performance together. I could remember that the main leads were not that fantastic because the female lead was not slim enough and the actress who played the male lead had very small eyes. 老玉春香潮剧团 also performed 双枪陆文龙 at the same place. By the way, this 小生 who acted as 陆文龙 later moved to 老一枝香潮剧团 and played male lead in a few shows including 三驸马 and subsequently to 织云潮剧团 which I loved her role as 李太白in 唐宫秘史. In 2004, I saw her performing in 老赛桃源潮剧团 as male lead in the show 烈女斩夫 and 铁 面 海 瑞 or better known as 怒 斩 玉 面 狼 in China.

One wondered why there were so many opera performances in different parts of Toa Payoh. There are many temples, markets and food centres in Toa Payoh. Some temples were relocated to this place with villagers from different kampongs under the resettlement programmes in the 60’s/70’s. One possible reason for them to relocate to different parts of Toa Payoh was because it was one of the newest HDB town that time. As the temples would invite local street opera troupes to perform during the birthday of different gods, these temples also became the new locations for watching opera. The temples, market places and hawker centres in Toa Payoh also invited opera troupes to perform during the lunar 7th month festival. Hence, there were many opportunities to watch opera shows in Toa Payoh as compared to the time when people stayed in rural areas.

It appeared that Teochew street opera was more popular in Toa Payoh. It was followed by Hokkien opera. Like that market in Lorong 1, Blk 127, the organizers would invite Teochew opera troupe to perform during seventh month and Hokkien opera during the eight or tenth. 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. It was rare to see Cantonese opera and it was only staged at Lorong 4 or Lorong 7 Toa Payoh. Such troupe was specially invited from Hong Kong. As for Yishun, you find more Hokkien opera than Teochew opera. There is one temple near Yishun swimming complex, they only invite Hokkien troupes. I don’t know the reasons.

All along my favourite 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 which no other troupes had done so.

Growing Up With Teochew Opera - 4

Teochew Street Opera And Hungry Ghost Festival - 1

街戏与庆中元

During the lunar 7th month hungry ghost festival in the l970s, I would go out for wayang performance if there were opera troupes performing in the nearby blocks. How did i get to know the details? You wondered. During that time, the organisers would paste a red A1 size red flyer/poster stating the dates, the name of troupe and the location. We would definitely go out if the performances took place over the weekends. You could still find such A1 poster nowadays but is confined to areas in the market place.

There was a wet market located at Lorong 4 Toa Payoh between Block 92 and Block 95. It was a regular place for street opera. We went there very often as it was very near our flat. I remembered watching 刘璋下山 and 雷峰塔 (Madam White Snake) by 老正天香潮剧团.

For 刘璋下山, we waited patiently till close to 10 pm to see the actress who played the male lead 刘璋. My eldest sister was with us and she knew the plot very well. The first two hours featured how the Han Emperor struggled to retain power and how 刘璋 escaped from death when he was a small boy. Then 刘璋 grew up and was trained by his master to be a very skillful swordsman. Unfortunately, he was inexperienced and saved his enemies instead and later had to behead his father to gain trust from the Empress. 陈 楚 蕙 also performed the role as 刘璋 in the movie 刘璋下山 with 曾珊凤. These two photos of 陈楚蕙 were taken when she peformed in the then Palace cinema in Katong more than 2 decades ago. I heard she regretted having performed there because many fans did not find the location convenient and she must have reaped in the least profit for the time and effort put in.

Many opera troupes like 老玉春香潮剧团, 新一天彩潮剧团, 新荣和兴潮剧团 also performed at the market place at Lorong 4 Toa Payoh. When there were opera performances, the place was very packed and one could hardly move.

There was one day when 老玉春香潮剧团 was performing there, and I stood at the back of the opera stage to admire the actor/actresses painting their faces. I was so happy when one of the actresses asked me to buy her a packet of 7-UP. She spoke in Teochew and I did not know what the hell was ‘Chek Hee’七喜 as I did not have the luxury of having extra pocket money for soft drinks. I went to the nearby coffee shop and repeated what she told me. Then I realised it was actually 7-UP. She invited me to go on stage but I was too shy and declined. In Teochew opera, during the first day of the show, the troupe will perform 六国大封相 and followed by 京城会. These are standard ceremonial pieces of performance that are performed by every opera troupe on the first day of the 2-day performance. Some troupes choose to perform 十仙庆寿 instead of 六国大封相.

In the evening, all Teochew opera troupes will commence their show with a shorter version of 京城会 before they perform the show.

Growing Up With Teochew Opera - 2

First Encounter With Street Opera In Johore - 2

与潮并长

I remembered watching a performance 李陵与苏武 by 新荣和兴潮剧团. I was too young to understand the performance. I was present simply because it was a rare event. The place was so crowded. My mum told me many people were very pleased with the well written script and fine performance. In Mar 2006, I bought a set of Chinese books which documented the history between Spring and Autumn Warring States and 5 dynasties and 10 kingdoms. I had an opportunity to have a better understanding of the plot 李陵与苏武.

There was another troupe called 织云潮剧团. My mum and eldest sister were fans to one of the actress who performed the role as male lead. They cooked dinner especially for her at our place. How did they get to know the actress? You may wonder! Well that was quite easy. They approached them when they were resting at the back stage. Think this particular actress was more approachable and they also liked her more than others. My mum also told me this particular actress was a relative of one of the villagers. The feeling of the presence of an actor or actress in our home was great. The actress did not stay too long as she had to leave for her make up for the evening performance

Fans in the 1960s to 1980s were of comparable standards like those who loved Taiwan’s 甄珍 and 林青霞 or Hong Kong’s heavenly king Andy Lau. Besides watching the opera troupes performing during the various festive seasons and birthdays of gods and deities, they would hesitate to pay to watch their performances at funfair or in amusement parks. I came across an article on 新荣和兴潮剧团 from the website on Singapore History Museum. Below is a typical opera poster of the 1950s and 1960s that provides information on the troupe, venue, story and casts. It features 新荣和兴潮剧团 having a four-day performance at the then New World Amusement Park in Jalan Besar. In the early days, the longest a troupe could stay in amusement park is about a week before they moved to temples and other theatres. The attractions to the opera did not rely solely on the casts or the stories. Backdrops played an important role too. This is clearly reflected in the poster that they had hired the famous backdrop artist to add more colours to the opera.