During the social unrest in China from the 20th year of Qing emperor Daoguang’s reign (1840) to the early Republic of China era (1911), coastal residents from Fujian, Guangdong, and Hainan, including some Cantonese opera performers, fled to areas such as the United States, Australia, and Southeast Asia. Over time, they spread their roots overseas.

According to Sin Chew Jit Poh, Cantonese opera performers organised Lei Yun Tong as a guild in Singapore in 1857, and it was renamed Pat Wo Wui Kun in 1890. Singapore is known as the second hometown of Cantonese opera. At the time, Cantonese opera troupes such as San Lai Sing, Yim Yeung Tin, Ga Lok, Sing Ping, Dai Law Tin, and San Cing Nien, under the Pat Woh Association Malaysia in Kuala Lumpur, often travelled south to Singapore for performances, enjoying considerable popularity.1

Early Cantonese opera troupes and performers

Cantonese opera thrived before World War II. Several theatres in Chinatown, where many Cantonese people gathered, regularly hosted Cantonese opera performances. These theatres included the Po Cheong Chuen Theatre (located on Eu Tong Sen Street, now defunct), the Heng Wai Sun Theatre (also on Eu Tong Sen Street, now defunct), the Tien Yien Moh Toi (later known as the Majestic Theatre, on Eu Tong Sen Street), and the Lai Chun Yuen Theatre (on Smith Street, commonly referred to as Theatre Street).

Among them, the Yong Shou Nian troupe, organised by the renowned Cantonese opera actor Liang Yuanheng (1892–1964),2 performed regularly at the Lai Chun Yuen Theatre. The leading elderly role 3was played by Sing Ga Yuet (birth and death years unknown).4 The Pu Chang Chun troupe, stationed at the Pu Chang Chun Theatre, featured Sheng Jia Nan (birth and death years unknown) in principal eldery roles.5

In addition to professional opera troupes, there were many amateur Cantonese opera groups which contributed to the flourishing of Cantonese opera in the early 20th century. The Hoi Thin Amateur Dramatic Association, established in 1918,6 was the earliest Cantonese opera group in Singapore. Subsequently, other groups such as the Tarn Kah Keng Ying Charitable Dramatic Association (1926), the Yougu Music Society (1937), and the Kwok Sing Musical Association (1936) were also founded. These organisations actively participated in charity performances during the wartime resistance against Japan.7

From the 1950s to 1970s, there were several local Cantonese opera troupes in Singapore, including Tin Ying, Gam Loong, Pek Wan Tin, and Guong Fai. Opera celebrities from Guangdong province and Hong Kong also performed in Singapore during this period, including Guai Ming Yeung (1909–1958), Pak Yok Tong (1900–1994), Sit Kok Sin (1904–1956), Sun Ma Sze Tsang( 1916–1997), Tam Sin Hung, and Law Kim Long (1921–2003).

Local Cantonese opera performers included Mak Siu Fai (1921–1996), Fa Wan Lan,8 Liew Seng Hwa (1914–1999), Fei Cuiyu (circa 1917–1992),9 and Guo Feiyu (1903–1984).

In addition, Cantonese opera troupes from Hong Kong, such as San Ma, Dai Loong Foong, Chor Foong Ming, Dai Kwan Ying, and Lam Ka Sing, also came to perform in Singapore. One of the actors was Leung Sing Poh (1907–1981),10 who was born in Singapore to a Cantonese opera family and later relocated to Hong Kong. His father was Sing Ga Yuet, and his sister was the famous actress Fa Kay Gin (birth and death years unknown).11 Other notable Cantonese opera actors active in the late 19th to early 20th century were Leng Pai Guo and Yun Se Siong.12

Cantonese opera performer Sun Ma Sze Tsang (Sun Ma Chai) performs for National Theatre Fund at Happy World, 1963. Ministry of Information and the Arts Collection, courtesy of National Archives of Singapore.

Performance venues

In the early days, Cantonese opera was performed mainly in the theatres mentioned above. From the 1920s, with the emergence of amusement parks like Great World, New World, and Gay World, Cantonese opera started being performed frequently at these venues. At the same time, the flourishing of Cantonese opera also resulted in good business for restaurants and tea houses. It became fashionable for people to visit tea houses and restaurants to listen to Cantonese music. Airview Restaurant, Nam Tin Restaurant, Tai Tong Restaurant, Gaosheng Teahouse, and others had regular performances by Cantonese opera singers.13

Most Cantonese opera performances were held at the People’s Theatre in Chinatown after its completion in 1969. However, for Shen Gong Opera (plays performed for the gods), temporary stages were often erected, making the performances more mobile.14 Today, Cantonese opera is performed at major venues such as the Esplanade — Theatres on the Bay, Singapore Chinese Cultural Centre, and Gateway Theatre.

Notable troupes

One of the most notable Cantonese opera troupes in Singapore is Chinese Theatre Circle, which was founded by Leslie Wong (1940–2023), Joanna Wong, Lou Mee Wah, and others. Since its establishment in 1981, the troupe has dedicated itself to promoting Chinese local opera, dance, and music, with Cantonese opera as its main focus. It has performed over 2,000 times domestically and internationally, with tours spanning more than 20 countries such as Europe, the United States, Australia, Brazil, Japan, Egypt, Turkey, and China. In 1995, the troupe became the first non-profit professional Cantonese opera troupe in Singapore, and in 1997, it was honoured with the Singapore Excellence Award. In 1998, it opened the first local opera teahouse in Chinatown.15

Notable works by the Chinese Theatre Circle include The Patriotic Princess (1985), Farewell to a Warrior (1984), A Costly Impulse (1988), First Emperor (1995), Wu Ze Tian (2001), and Intrigue in the Qing Imperial Court (Chinese and English version) (1987/2002). In addition, Leslie Wong has written many works such as Qiu Jin (2007), Green Snake (2016), Lady Magistrate Xie Yao Huan (2017), and Rage Over a Courtesan (2024).

In A Costly Impulse (which Foshan Cantonese Opera Troupe adapted from the Shaoxing opera of the same name), the main roles were played by Joanna Wong and Lou Mee Wah. The play was performed in Egypt (1989), Germany (1993), China (1993), Romania (1994), Brazil (2000), and other countries.

Joanna Wong as Empress Wu in Wu Ze Tian (2019). Courtesy of Joanna Wong.
Lou Mee Wah as Emperor Daozong in A Costly Impulse (1988). Courtesy of Lou Mee Wah.
The Chinese Theatre Circle on tour in Paris, France, in 2002. Pictured are (front row, from left) Wong Kwok Onn, Yao Ke Zhong, Ian Kwok Kwong Luen, and (back row, from left) See Too Hoi Siang, Joanna Wong, and Frances Wong Kum Yeng. Courtesy of Chinese Theatre Circle.

Additionally, the Chinese Theatre Circle launched an English version of Intrigue in the Qing Imperial Court in 2002. An original Singapore work, its purpose was to attract a younger audience and promote Cantonese opera art overseas. The play has been performed in the United States, China, Ireland, and Ukraine. In 2010, during a performance at the International Arts Festival in Ukraine, it was honoured with the Successful Modernisation of Traditional Theatre Award.16

Another Cantonese opera troupe is the Sin Ming Sing Cantonese Opera Centre, established in 1999. Its founding mission is to create a vibrant future for Cantonese opera in Singapore and promote Chinese opera culture. Under the tutelage of Ling Dongming, a former performer from the Guangdong Cantonese Opera Institute in China, the centre has had nearly 200 different types of performances, full-length plays, special events, and activities involving teachers and students.

Group photo after a performance at the Sin Ming Sing Cantonese Opera Centre, 2018. From left to right: Su Chunmei, Mai Yuqing, Ling Dongming, Chen Yunhong, Jiang Wenduan. Courtesy of Sin Ming Sing Cantonese Opera Centre.

The centre’s repertoire includes Fan Li Offers Xi Shi (2014), Fate of Love and Hate Across Lifetimes (2014), Eastern Treasure in Singapore: Cantonese Opera Artistic Performance of Ling Dongming (2018), Continuation and Innovation, Perpetuating the B Tune (2017), and Ling Dongming Meets Fans with Affection (2012). There were guest performances by renowned Cantonese opera artists such as Ding Fan, Karl Maka, Chen Yunhong, Ou Kaiming, Mai Yuqing, and Li Junsheng. The centre has also performed in Hong Kong, Macau, Shanghai, Guangzhou, Zhanjiang, and Malaysia.17

Cantonese opera artists

One of the most notable Cantonese opera artists in Singapore is Joanna Wong. She was awarded the Public Service Star (BBM) by the President in 1974, the Cultural Medallion by the Ministry of Culture in 1981, and became a Justice of the Peace in 1998. As the founder and artistic director of Chinese Theatre Circle, she also serves as the Permanent Honorary President and Artistic Advisor of Singapore’s Pat Wo Wui Kun.

Leslie Wong, meanwhile, serves as both the playwright and lyricist for the Chinese Theatre Circle. His works include Madame  White Snake, Goddess of River Luo, Ode to Singapore, Ode to Chinese Theatre Circle, Qiu Jin, Green Snake, Rage over a Courtesan, Plum Blossom Fan, and more. He was also behind the English versions of Intrigue in the Qing Imperial Court and Dream of the Peony.

Other local Cantonese opera artists are Lou Mee Wah (one of the founders of Chinese Theatre Circle),18 Chee Kin Foon and Chee Siew Fun (the two sisters who founded OperaWorks in 2008),19 and Woo Wai Fong (female wenwu sheng -female who played leading male roles).20

In addition to Chinese Theatre Circle, other active local Cantonese opera groups in Singapore are the longstanding Pat Wo Wui Kun and Kong Chow Wui Koon Opera Troupe, as well as the Chinese Opera Society (Singapore), OperaWorks, and Kwok Seng Music Association. Some Cantonese opera groups were established by professional actors who migrated to Singapore. Among them are Ling Dongming’s Sin Ming Sing Cantonese Opera Centre, the Art of Lam Kam Ping Cantonese Opera Performance Association founded by Hong Kong actor Chor Wan Yuk, and others.

The veteran actors currently active on the local Cantonese opera stage include Sally Low Moon Chin, Christopher Choo, See Too Hoi Siang, Gary Kong Yew Cheong, Aw Yeong Peng Mun, and Chan Fook Hong.

Thanks to numerous artists who have carried on the tradition with meticulous care, Cantonese opera has endured and flourished in Singapore. It has become one of the most popular and vibrant regional opera genres on the island.