Granted, there was no distraction like the internet back then and television was still a novelty to most. Chinese operas therefore provided Malaysians with an affordable night of entertainment under the night sky.

And when the Hungry Ghost Festival rolled around, it was payday for the opera troupes; for what better way to keep the dead happy than to perform in their honour?

Fast forward to the present day and Chinese opera performances are something of a rarity.

Despite the odds, many local Chinese opera artists are still working tirelessly to ensure that nothing brings down the curtain on the age-old art.

One such performer is Berlin Yap, 67, director and actor of the Sung Fong Meng Cantonese Opera troupe, based in Kepong.

With over 30 years of experience, this Johor-born thespian has performed on stages in Kuala Lumpur, Ipoh and Singapore.

But how did Yap’s journey as a Chinese opera performer begin?

“I came across a live Cantonese Opera performance when I was studying in Singapore, so I stayed to watch and I became interested in the art,” she said, adding that she later enrolled in a drama college in China so she could learn about the intricacies of opera.

Being realistic however, she knew performing alone would not help pay the bills, so she only took to the stage when an opportunity presented itself.

However, in 2011, Yap founded the Sung Fong Meng Cantonese Opera troupe.

“My friend was the owner of a temple and a fellow performer, and she approached me with the idea of organising a performance troupe,” Yap explains.

The troupe consists of 10-15 performers, with a handful of backstage helpers and musicians. They perform every year at the temple now.

According to Yap, makeup is an important skill for any Chinese opera performer, so being able to prepare for the stage in an hour or two is a prerequisite.

Hungry Ghost Festival is one of the few times of the year when the troupe is flooded with requests to perform.

During this time, it is believed that the spirits of the dead wander throughout the mortal plane, necessitating that they be entertained lest they cause mischief.

Hence, Chinese opera troupes, including Sung Fong Meng, are hired to give the dead something to remember while out and about.

As to be expected though, performing for the dead comes with its fair shares of taboos.

“During performances in some venues, the first or second row of seats are tied together and left empty,” she says, explaining that these are reserved for the spirits or “fellow brothers”.

“As for us stage performers, swearing or cursing is avoided on-stage and backstage.”

Business also picks up around the Nine Emperor Gods Festival in September, as well as during Chinese New Year, albeit to a lesser extent.

Traditionally, a full performance could last up to three hours but Yap says today’s crowds prefer it short and sweet.

This year, the stage will likely be silent due to the lurking menace that is the Covid-19 pandemic.

“I don’t think it’s just the Cantonese opera scene that has been affected but rather, the entire cultural scene, since you can’t step out to do live performances,” Yap says.

While the troupe has been inactive for the entirety of last year, they have participated in online performances and fundraisers.

The pandemic however, is not the only threat the troupe faces. There’s a disinterested younger generation to contend with as well.

“Nowadays, there aren’t a lot of people interested in watching Cantonese opera, and there isn’t enough support for this artform.”

In Hong Kong and China, opera troupes enjoy government patronage, which helps protect traditional artforms.

While the sun may be setting on traditional Chinese opera, Yap is still hopeful that someone will take up her mantle in the future.

“They don’t have to be full-time performers. Some are just interested to learn more or they just want to have fun,” she said.

“As long as they are passionate about learning Cantonese opera, I am happy to teach them. Even if it’s just for fun, at least they can learn and understand the story behind Cantonese opera.”

There is perhaps hope for the future, as some of her students are young adults. Additionally, there are several active Cantonese opera troupes in Ipoh, and Teochew troupes in Penang.

Yap’s greatest hope is that these troupes consolidate in a last-ditch effort to preserve this age-old artform for future generations to enjoy.

Once the pandemic is over, she said she hopes that the younger generation will take the effort to explore their cultural roots and learn more about Chinese opera.

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