Teochew opera in Singapore

Teochew opera is a regional opera genre that originated in China’s Guangdong province. It is popular in the eastern part of Guangdong, southern Fujian, Hong Kong, and various Chinese communities in Southeast Asia. Chao opera, or Teochew opera, derives its name from its association with Chaozhou and is sung in the Teochew dialect.

Following in the footsteps of the Teochew people who migrated overseas, Teochew opera took root in foreign lands and developed its own distinct local patterns. The earliest recorded mention of Teochew opera in Singapore dates back to 1887 in A Record of the Natural Conditions and Social Customs in Singapore by Li Zhongyu (1853–1927), which states, “There are male and female troupes in the theatres. There are four or five theatres in Da Po (area around South Bridge Road), and one or two in Xiao Po (area around North Bridge Road), all performing Cantonese opera. Occasionally, Hokkien and Teochew operas are also staged.”

It can be inferred that as early as the 19^th century, Teochew opera was performed in ceremonies to honour deities in Chinese temples in Singapore. From this perspective, the history of Teochew opera in Singapore spans nearly 200 years.

Early Teochew opera troupes

According to the Directory of Associations in Singapore (1982–1983), the professional Teochew opera troupes during the pre-war and early post-war period included Lau Sai Poh Hong, Lau Sai Thor Guan, Tong Jit Kee Hiang, Lau San Chia Soon, Lau Ee Lye Choon, Lau Tong Chia Soon, Lau Poh Soon Heng, Lau Sai Yong Hong, Lau Gek Lau Choon, Sin Yong Hua Heng, San Chia Soon Hiang, Tong Sai Thor Guan, Tong Jit Tiang Hiang, Lau Jit Kee Hiang, Lau Gek Choon Hiang, Lau Chia Thian Hiang, and others.

Later, there were also Chit Hoon Tep Kek Tuan, Sin Jit Tian Chye Troupe, Teo Goy Troupe, Tok Kang Troupe, and Sin Thor Guan Choon, and finally, Lau Poo Gwee Choon and Kim Eng Teochew Opera Troupe.

In the 19^th century, Teochew opera performances in Singapore were often held in front of temples or along the streets, earning the name of street opera. Performances often took place in front of Teochew temples such as Yueh Hai Ching Temple (Wak Hai Cheng Bio in Teochew) and areas inhabited by the Teochew community, including Boat Quay (zab boih khoi ki), Chulia Street (sua kia deng), Circular Road (zab boih goin ao), Robinson Road (lau pa sat kau), Fish Street, Fisher Street, River Valley Road, and North Boat Quay.

Later, Teochew opera performances also took place in relatively fixed venues such as theatres, amusement parks, and opera houses. At that time, the four major Teochew opera theatres were Ee Hng, Tiat Hng, Tong Le Yuan, and Yong Le Yuan.

In the early 20^th century, as Singapore’s economy gradually developed and standards of living improved, there was ample opportunity for the development of theatre. Many Teochew opera troupes came to Singapore to perform between the 1920s and 1940s, touring various places in Nanyang and revitalising the Teochew opera stage in the region.

In the 1930s, the Teochew opera stage was exceptionally lively. Each opera troupe averaged about 60 members, and most operators were well-off. There was often intense competition among troupes, with each employing various tactics to attract audiences.

Although Teochew opera performances were an important source of entertainment for Teochew people, early Chinese society generally looked down on actors. Many considered watching vernacular drama as demeaning to their status, and a sign that one lacked refinement. As a result, they preferred the more refined Han opera (hanju). Some wealthy merchants and nobles in the local community organised amateur drama societies mainly focused on performing Han opera, finding pleasure and relaxation in this activity. As a result, amateur drama groups such as the Er Woo Amateur Musical & Dramatic Association, Lak Aik Amateur Musical & Drama Association, Thau Yong Amateur Musical Association, and Chenh Hua Amateur Musical Association emerged. These amateur drama groups not only engaged in musical performances for leisure, but also took to the stage to perform, often organising charity performances to raise funds for disaster relief.

Teochew films

From the late 1950s to early 1960s, local Teochew opera entered a period of prosperity. In September 1959, the first China Teochew opera film The Burning of the Riverside Tower was screened in Singapore, causing a sensation. Within the next five years, So Luk Neung, A Woman Sues Her Own Husband, Chen San and Wu Niang, Swallows Greet the Spring, Hang Kang Huay Ser Kim, The Story of Lau Meng Chu, and others were brought to Singapore and were well-received.

Local traditional Teochew opera troupes began to emulate Teochew opera films, bringing the silver screen to the stage. Not only did many local amateur literary and musical societies switch to performing Teochew opera, amateur drama societies such as Nam Hwa Amateur Musical & Dramatic Association (now Nam Hwa Opera) also emerged in this environment in 1963.

As time passed, Teochew opera in Singapore faced challenges brought about by modernisation and cultural diversification. Nevertheless, there are still traditional Teochew opera troupes and actors who continue to develop and pass on this art form.

There are only a few active professional Teochew opera troupes left, including the Lau Sai Thor Guan, which was established in 1864. Lau Sai Thor Guan was the largest and most reputable troupe in the local Teochew opera scene in the 20^th century. The famous director Lim Joo Liak (1906–1981), touxian player Lim Bak Cheow, male lead Chua Poh Choo, and female lead Lee Siew Lang were all key figures in the opera troupe.

In 2017, former TV personality Nick Shen took over Lau Sai Thor Guan and found new audiences for its performances in Chinese temples, leading the troupe’s transformation and the continuation of its legacy.

Among the other currently active amateur Teochew Opera groups, Nam Hwa Opera, which renamed itself at the end of 2018, stands out. It was awarded the Singapore Chinese Cultural Contribution Award (Group Category) in 2023. Under the leadership of its president Toh Lim Mok, Nam Hwa has undergone a systematic transformation, actively nurturing new talents and cultivating young opera performers. One of its young actors Tan Wei Tian was also awarded the New Talent Award in the 2016 Singapore Chinese Opera Orchid Awards by the Singapore Chinese Opera Institute, and currently serves as Nam Hwa’s artistic director.