San Francisco Opera, in highest adventure mode, presents “The Monkey King,” a dashing world premiere that brings to the stage a 16th-century Chinese action hero who is not only a popular television and film figure, but also the subject of the 2024 video game “Black Myth: Wukong.”
How easy is it to relate operatically to a Ming Dynasty superhero, who, on his way to immortality, destroys oceans and creates chaos in heaven?
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Mei Gui Zhang sings Guanyin, the Goddess of Mercy, in San Francisco Opera’s world premiere of “The Monkey King.” (Cory Weaver/San Francisco Opera via Bay City News) -
Dancer Huiwang Zhang is one of three manifestations of the title role in San Francisco Opera’s production of “The Monkey King” onstage at the War Memorial Opera House through Nov. 30. (Cory Weaver/San Francisco Opera via Bay City News) -
Members of The San Francisco Opera Chorus play varied characters, including monkeys, in San Francisco Opera’s premiere of “The Monkey King.” (Cory Weaver/San Francisco Opera via Bay City News)
Not too difficult, given Huang Ruo’s score that connects East and West handsomely and details the contrary, rebellious personality of the Monkey King with spiky and lyrical music, and David Henry Hwang’s tightly woven libretto that works as a flashback. Add in the brilliant staging and set design, and this episodic road trip really works.
The lushest and most expressive music is written for the chorus, who constitute a riotous monkey tribe as well as serve as courtiers in the underwater and heavenly kingdoms the Monkey King visits; and for the Goddess of Mercy, a beautifully written narrative role.
Diane Paulus’ staging, Anita Yavich’s costumes and Basil Twist’s luxurious set design and astonishing puppetry bring the elements together in an explosive through line.
The scenery is stunning: Six white stallion puppets let loose by the Monkey King roam in the stratosphere (on one of his journeys, he is stable master; the white horse the symbol of endurance). Enormous bolts of silk ride the skies like comets; a giant golden hand imprisons, and finally frees, the hero.
Tenor Kang Wang, the rare singer who projects so powerfully that every word is clear, brings home the madcap Monkey King in blazing, high-line vocal colors. The tenor, along with remarkable dancer Huiwang Zhang (choreography by Ann Yee) and an exuberant lookalike puppet, personify the Monkey King. It’s a thoroughly charming trio that brings the rascally character vividly to life.
Among vocal standouts are soprano Mei Gui Zhang as the Goddess of Mercy; mezzo soprano Hongni Wu as the Crab General and Venus Star; baritone Jusung Gabriel Park as Buddha and teacher Master Subhuti; and tenor Konu Kim as the vexed Jade Emperor.
Carolyn Kuan conducts with great detail and high spirit.
There is already talk in opera circles about more productions based on the 16th-century novel “Journey to the West,” since only a few early chapters are covered in “The Monkey King.” A “Ming Ring,” anyone?
San Francisco Opera’s “The Monkey King” continues at 7:30 p.m. Nov. 18, Nov. 20, Nov. 22, Nov. 25, Nov. 28 and 2 p.m. Nov. 30 at the War Memorial Opera House, 301 Van Ness Ave., San Francisco. For tickets ($29-$447; $25 for Nov. 18 livestream), call (415) 864-3330 or visit sfopera.com.
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