Iconic play returns to stage

One of the most iconic pieces of contemporary Chinese theater, To Be Continued returned for a special three-day performance to mark 20 years since it was written, and 18 years since its debut. The event was the beginning of a yearlong national tour.

This unforgettable celebration of theater and artistic evolution was staged at Beijing's Juyin Theater between Jan 16 and 18. But this wasn't just another revival — it was a journey through time, growth and the power of performance, as the show opened a new chapter in the form of a unique performance creation workshop.

Led by director Huang Ying, 10 talented young actors, selected from over 200 applicants, underwent rigorous training over the course of a month under his mentorship and that of original cast members, including Cao Yuanyuan, Zhang Xiao and Liu Zhengzhi. The result was a powerful experience that allowed these rising stars to demonstrate their potential, while giving the audience the chance to experience the play in a fresh light.

To Be Continued revolves around a 28-year-old woman named Molly, who confronts the Grim Reaper four times on her final day before death.

"As the play celebrates two decades since its inception, I decided to choose a different path to traditional commercial performances. Rather than presenting another mainstream production, I set up this performance creation workshop, a space for young actors to hone their craft in a free, open environment," says the 47-year-old director, who drained his own savings to fund the 2009 premiere, a testament to his unwavering belief in his work. He is now an associate professor at the Beijing Film Academy.

The culmination of the workshop was a performance that was both a final exam for the participants and a reflection of the evolution of the play. The program also paid homage to the 29 actors who have been part of its history, chronicling its transformation over the past 18 years.

For the 10 participants, the performance was much more than a debut — it was a personal and collective rite of passage.

"I've seen another version of myself through this experience. But more importantly, I know it's not just about me — it's about us," says Dou Yuyang, one of the participants.

In the play, the Grim Reaper asked Molly what single item she would bring to the afterlife.

Cai Jiaqi, one of the other actors, says that he asked himself the same question. "And after this entire month of training and bonding, I think I have had the answer. I want to leave with love, and that's what every person in this group made me feel," Cai says.

The workshop was designed not only to hone craft but also to explore the actors' perceptions of life and death. Huang describes it as "a relay of questioning" that permitted him to reflect on change, and find new sources of strength.

As one of China's most successful theater directors, with over 50 plays under his belt, Huang has collaborated with the National Centre for the Performing Arts and the National Theatre of China in addition to staging his own productions.

Born and raised in Beijing, he obtained his bachelor's degree from the China Agricultural University with a major in biochemistry and molecular biology, before deciding to become a theater director after watching Antique, a play directed by Beijing People's Art Theater director Lin Zhaohua, in 1997.

One day in 2005, he and his friend Wang Cailian were wandering aimlessly near the Central Academy of Drama in Beijing, lives adrift in a fog of uncertainty, unsure of what the future held.

Then a young director, Huang held teaching intern positions at the drama academy and Beijing Film Academy. Wang, who lived in the same dormitory at the drama academy, was preparing for his second attempt at the doctoral entrance exam for a scriptwriting major at the drama academy.

"When I returned to the dormitory that night, we took a long walk together. It was winter, cold and dark. Since the drama academy is located near Nanluoguxiang lane, in a popular hutong area, we were walking through narrow alleys, which were very quiet," Huang recalls.

Both in their 20s, the two aspiring scriptwriters found themselves contemplating life's deepest questions: What is the meaning of existence? What makes life worth living? These questions gave birth to To Be Continued.

At the heart of the play is its minimalist structure: no elaborate sets, no complex soundtracks — just five actors playing 44 roles in an empty space, with a cappella harmonies as the only accompaniment.

Despite the simple framework, it places immense demands on the actors.

Since its premiere in 2009, the play has received widespread attention and in 2012 achieved a landmark by reaching its 100th performance, staged simultaneously in Beijing and Shanghai.

The "seven-minute exercise", a ritual before formal rehearsals, has been part of the production since its inception. During the recent workshop, the 10 young actors began with a series of tai chi exercises under the guidance of senior actors who performed in the production's early years.

Through this ritual, the actors engage in physical training, deepening their understanding of their characters, and those of their counterparts, as well as of the emotions they are to portray.

Former star of the show Zhang Xiao, who now mentors young cast members, describes To Be Continued as "a physical play where all the performances are externalized. But at the same time, the actors must reach a level of absolute authenticity and belief inside themselves".

What excites Huang about the anniversary is that new faces and old friends have come together, breathing new life into a story that, despite its passage through time, continues to evolve.

"One reason for its long life span is that people still find it relevant. I try to discard old 'successful' experiences and return to the original intent, to feel how these new young actors, in the same circumstances, express themselves. I want to learn from them," he says.