Loong Kin Sang

Early life

Loong was born Lee Pui Sang on 04 November 1944 (Lunar 19 September 1944) as the fourth child to parents, a teacher father and a stay home mother, who have one son (eldest) and seven daughters. Against the will of father/brother but with the support (financially for the decade of training) of mother/sisters, she joined in 1960, as dancer, the then Sin Fung Ming troupe created by her mentor Yam and Bak Sheut Sin.

1960 Dancer Class

Advertisement: 25 October 1960, female, age 16-22, 4'9" to 5'1", 85-100 Lb.

Applicants: 800 to 1000 (different sources)

Dancer Class: 44 recruited but eliminated down to 22 members on stage

Class Started: 26 December

Duration: 8 months (48 shows started on 19 September 1961)

Training: gender neutral as background dancers

Location: Kom Tong Hall (Chinese: 甘棠第) since day one^{Issue#105/106}

1963 Training class started with the 12 recalled members of 1960 dancers including four, playing male roles, each had a solo part, order of appearance 蕭劍纓, 龍劍笙, 朱劍丹, 蓋劍奎 in 1964 CD, in finale theme song of The Story of Emperor Li. Members, new and recalled, number peaked in 1965 and went down to total nine (9) in 1969, including one married with a baby on the way. For example, 蕭劍纓 departure after the 1965 Excerpts performance led to the smaller group over time.

1964 Charity performances^Issue#106

Given stage name according to the year (1964, the year of dragon, 龍) and the mentor (middle name 劍)

Took after mentor Yam the first time formally on stage (Overseas Chinese Daily News (OCDN) 華僑日報 Education Fund) and was taught line by line and word by word in home of mentor Yam as Jia Baoyu, an iconic role of Yam (recognised as a famous interpreter since the early 1940s in Macau during the Second Sino-Japanese war)

Debuted as romantic scholar character Jia Baoyu to rave review from the Press and mentor Yam passed her stage outfit "Precious Jade" to Loong, her most favorite Jia Baoyu. Loong went on in this same role to represent mentor Yam in the 1980 ensemble cast, the first since 1949, with performers of all generations before Loong from Guangdong and Hong Kong to live audience and TVB broadcast afterwards.^Issue#134

1968 to 1970 Shared the stage with mentor Yam as one of the six pillars^Issue#108 and debuted in 1969 "Farewell, My Husband" (first full title, on August 8 to 14)^Issue#109 in between those four titles as understudy. Mentor Yam staged (演出機會) total five titles with the "kids" (細路) - she called affectionately in interviews. Yam made clear to the Press that there would never be a structured curriculum she could give them. Moreover, the essential qualities in any potential heir/successor were to study meticulously (要鑽研) and persevere (有恒心) through the necessary training.

Those played hooky, being caught red-handed, eventually never learnt the essentials like ending rhyme 韻腳 or endured the prescribed training sessions, were never "kids" mentor Yam could be proud of, let alone heir or successor to Yam. According to Loong, the only way mentor Yam taught her was for her to "watch and learn". Mentor Yam had never been verbal about her Art even when she showed Loong the rope. Without the basic knowledge accumulated over a decade, some complained that mentor Yam never taught by more than letting them watch (Cantonese: 係睇人哋嘅戲) the 1968/69/70 performances. It had been a privilege for former generations in Cantonese opera community in the past being allowed in the audience when a senior performer was on stage. Illiterate performers needed the manuscript read out loud or explained word by word for them. Yuen called such "story telling" an understandable need/habit in the past but not in modern days.

1970 Passing the Baton

Yam-Loong-Chor(任、龍、雛), breadwinner (票房的主力) to breadwinner (票房的主力) of the whole group, started with full time stay with mentor Yam (任姐) for more than a year. Loong called that duration (actually never stopped 跟隨任姐學藝和服侍任姐 for close to 30 years) the best time of her life.

Mentor Yam, like a second mother, left to/saved for Loong, fame and all. Her teaching Loong behind closed door of one room at home is an universally known arrangement but no reference is available since Loong has not talked about that. What transpired between mentor and protégée has been beyond anybody's knowledge. From 1965 onwards, Yam provided all necessary assistance or guidance for "kids" to get experience on stage. For example, she showed the "kids" a trick, to overcome shyness at 1969 photo shoot, Loong still employed in 2015 to get into her character instantly. However, Yam did not take the bow again at curtain calls, steal thunder from "kids" for vanity unlike in 1965 when she had to since no "kids" was in charge. Moreover, Yam declined to entertain any academics' requests, whether to share her Art in Cantonese opera with them or to be back on stage for their studies/researches.

Lid was on distractions like limelight seeking by any and all group members. This has been rudely violated upon mentor Yam's death with corrosive and damaging, at times, comments in public, by those jockeying for position and limelight seeking, those from within & without and those from nooks & crannies.

1970s Upbringing

1971 Brief sabbatical and worked as assistant editor since there was no future in sight as mentor Yam saw it.

1972 Stepped up on behalf of mentor Yam to perform in Vietnam and ran with it. Then, debuted "The Sword of a Loyal Family" (second full title, on June 1–8 and June 16–22) but out on June 18. TVB telethon event hosted for the victims in the June 18 landslide {L to R from mentor Yam, 朱劍丹(Chu, in orange dress), 蓋劍奎(Koi, in green dress), 龍劍笙(Loong), the team leader, and three more as backup singers}.

1973 Kicked-off as career performer (in mentor Yam's Sequin(珠片) costume made for Yam's 1968 North America tour) under brand name Chor Fung Ming (Young Phoenix) Cantonese Opera Troupe (雛鳳鳴). Was flanked at press conference each side by veterans Leung Sing Bor and Lang Chi Bak. There were five (briefly including Koi who died in 2007) remaining dancers from 1960 and the youngest one from 1963 class (peaked at 7 only total). This brand name has been hot reference in resume of Cantonese opera community for half a century (Like The Beatles, Bee Gees, etc.) Former classmates even from 1960, no more or never mentor Yam's "kids", showed up to bask in the glory since the death of mentor Yam in 1989 - Yam MIC. Loong, the Principal member since day one, is the last remaining as of 2016 since there never was revolving door when members stepped out for journeys of no return for any reason. Loong, the registered owner, is also the only performer consistently associated with this brand name (given to Loong by mentor Yam in 1982 ?) for over five decades.

Dark Horse

Nepotism in general, pay-to-play and quid pro quo, the norm in HK Cantonese opera community, make it difficult for outsiders even today to get ahead. Second generations also still see themselves as entitled to even resources from NGOs or HK Government. In addition to what Man referred to generally as late bloomers against the odds to be successful, Loong also has no family or other connection in Cantonese opera.For comparison purpose, Man (retired in 2011 at age 70) started at age 9, Law (career performer until 1991) started at age 8 and Yuen was even younger. All three were brought up by family or friends of family in the Cantonese opera community as well.

Career

Loong was recognized as promising during the late 1960s and 1970s, and acted in various types of Cantonese opera as male leads in full versions since 1969 with several female leads as co-stars. However, the residue value of her "down-ballot effect" is minimal for her co-stars.

Law, a peer of Loong, recounted the business environment, 1973 to early 1990s in particular how Cantonese Opera was "rescued" from total collapse and the role Loong played, including missing in action for 12 years, in the ups and downs in April 2015. However, the frequency Loong performed initially was very limited (e.g. nine times for a week in 1973 and total 11 titles for 1973/74)^Issue#113 for the first few years in Hong Kong. To go from this slow pace to months long of fast pace overseas tour was not easy, as per Loong's remark in 1975 after the SE Asia tour of four months. The pace didn't pick up in Hong Kong until the troupe showed how profitable it was for investors to hire them. It was a business decision for theatres to accept their month long performances notwithstanding what was alleged by some so called insider, unlike what is happening in Hong Kong.

On Stage Live Productions

1972-1992, Loong has performed in full version of over 50 well-known titles, one to two titles a day usually. Those titles could be just requested the day before by theatre owners (investors who hired the troupe), like the request written on a beverage napkin in a piano bar, during overseas tours. Loong, therefore, performed many titles that the audience in Hong Kong did not witness. A few mostly with Kong as co-star are listed below.

Law, a peer of Loong, says that there are over 60 titles he can perform on stage at the drop of a hat. He performed in 2015 one title just from memory, having been in the audience as a child. His first cousin, also a very well-known performer, did that actually in front of Bak Yuk Tong 白玉堂 with one of his well-known title. That is the common quality in professional career performers.

Having learnt the essential basics like ending rhyme 韻腳 in the decade of training from 1960 to 1970, Loong could honor new requests without even a day's notice in the evening by studying the manuscript overnight and rehearsing in the afternoon. Loong actually compared such challenges to taking the Hong Kong Certificate of Education Examination (HKCEE) although Loong never sat for such examinations. This was the only way to survive extension after extension since repeating of titles were not acceptable except for just a handful of very popular ones during first overseas tour in Vietnam. Loong said she talked her way out of performing in that first trip but had to perform with Kong in SE Asia the all-time popular title "Time to Go Home (胡不歸)". The 21-day Singapore trip planned became 66-day stay (77 shows) in 1975. Mentor Yam did not agree to further extension even when approached by Ketra Ayers People's Theatre which had seen 77 full houses, including Buddhist nuns, with overflow at times. Chairs were added in the aisle and front of stage to accommodate the overflow.

Loong's memory power, which, among other qualities in Loong, impressed mentor Yam, served her well in these occasions. Loong was said to have never studied or kept the manuscript at her make-up counter backstage. A manuscript in those days was like a phonebook in size written in Classical Chinese 文言文 instead of Yue Chinese, the everyday spoken language. Mentor Yam herself was known to "study" by just having younger sister to read it out loud for her while busy playing Mahjong. The general consensus has been that mentor Yam had very "good" memory power. Yet, Yam was impressed by Loong.

Repertoire Select

Martial Arts

With the departure of Kong Suet-Liu in 1976 after the second tour^Issue#125 in SE Asia, Loong could not find a compatible co-star for these three. The first two were originally created for young performers, all classmates, to have a part. Therefore, these were only staged sporadically since then to provide opportunities for new hires from training schools,^Issue#137 otherwise only as pedestrian A or other "human prop". Kong was also Loong's only co-star^Issue#116 who could play the female lead Zhu Yingtai (祝英台) in Butterfly Lovers, one of China's Four Great Folktales.

Mou (武, "martial arts") Category by Yip Shiu-Tak (葉紹德) Cast - Loong as male leads, a General officer and then a young warrior; Kong Suet-Liu (江雪鷺) as female leads, the General's wife and then sister of Jialie, in a young woman warrior role, Dou¹ Maa⁵ Daan² (刀馬旦).

1. Island of Farewell or Farewell, My Husband (plot) (Debut 1969)^Issue#109
2. The Sword of a Loyal Family (Debut 1972) - Yip in collaboration with Lee Siu-Wan (李少芸)^{Issue#111/112}

Butterfly Lovers (pdf) full libretto of Man (文, repertoire of mentor Yam and Fong Yin Fun) Category by other librettist . Loong released CD with the solo theme song in this title with three others of mentor Yam's in 2012. Mentor Yam also reprised her role as Liang Shanbo (梁山伯) more than once since the title debut. A film with Fong Yin Fun (芳艷芬) released in 1958 was followed by CD with Lee Bo-Ying (李寶瑩) released in the 1960s.

Yam-Tong

Man (文, Cantonese Opera Legend Yam Kim Fai) Category By Tang Ti-sheng (Alias: Tong Dick-san) (唐滌生), in tribute to mentor Yam's iconic roles, but often adapted by Yip Shiu-Tak (葉紹德) for various reasons. He talked about some of those reasons on radio at least twice.

1. In 1989, the 30th anniversary of Tang's passing, 6 episodes of Interviews with those around Tang "唐滌生藝術迴響" including Tang's wife.
2. In 1985-6, 30 episodes of Tang Ti-sheng's Art "唐滌生的藝術" - a comprehensive look of Tang's work.

1980s

New productions by librettist Yip Shiu-Tak (葉紹德)

Others

Loong performed following titles at various time of her career for different reasons. #2 did not register with the audience as the female lead in it should be fairly easy as a prostitute (type of role the original cast was very famous for). Loong learnt Ping Gui Leaves the Cave Dwelling from godfather in the 1980s but #7 and #13 were probably only for overseas tours in 1972 to 1976 while new martial art titles since then, #8 and #9, were not as big a draw with the only co-star left.

Historical Overseas Tours

Loong has performed in Vietnam (1972), the United States, Canada, Singapore, Malaysia, Macau (Cinema Alegria 永樂戲院, Cinema at Portuguese: Travessa do Auto Novo 清平戲院, among others) and Australia (1985). (According to Law, the pay for one day in those years could be as high as US$50,000.) Her "path to Las Vegas" has been a 2 to 4 page monthly special feature of an opera magazine from 2011 (Issue 105) to end of 2013.

22 July 1975, Princess Royal of Tonga (Title also Lady Tuita since 20 July 1976) visiting Singapore was backstage at intermission of afternoon performance "The Chivalrous Thief & His Beloved Princess" (玉龍彩鳳渡春宵). She spent some time in the audience and was accompanied by Mr. Wang (黃仕英). Loong apparently tried to explain the plot to Her Royal Highness backstage while they were being photographed.

1970s

By the numbers:-

1. 1972, Vietnam,^Issue#110 over 40 shows in 37 days, at a theatre in Cholon, Ho Chi Minh City, in lieu of mentor Yam who received the invitation. The crew included Kong and one more dancer from 1960. Early April 1972, Loong and two classmates were welcomed at Kai Tak Airport by, inter alia, So Siu Tong (蘇少棠) when returned from the first overseas performance. (see the Nguyên Huế Offensive (also called the Easter Offensive) 30 March 1972.)
2. 1975, SE Asia, 106 shows in 91 days,^{Issue#118-120} at Ketra Ayers People's Theatre and others, Kong as one (80% ?) of two co-stars.
3. 1976, SE Asia, 117 shows in 102 days,^Issue#125 at Ketra Ayers People's Theatre and others, Kong as one (80% ?) of two co-stars. As finale tour, Lang Chi Bak at 72 years old, was paid SGD$600 each day, over 10% of troupe's entire remuneration of SGD$5,500 per day, according to theatre management.
4. 1978, US and Canada, 89 shows in 71 days,^Issue#130 in 18 cities, Image from 1968 Movie Tragedy of the Poet King can be seen in Poster(粵劇在海外「雛鳳鳴粵劇團」美加巡迴演出的海報)

1980s

In 1982, Loong was invited to perform for Christmas season by the Las Vegas casino Caesars Palace at the debut of The Story of Emperor Li in Lee Theatre that November. Therefore, Loong and troupe had about one month to mobilize. Usually, such a long distance trip took years of planning in advance.^Issue#140

1968 Movie Tragedy of the Poet King, a financial disaster (paid for mostly by mentor Yam) for Sin Fung Ming, was banned/boycotted in North America for theatrical release because of the political background of production team. Despite objection of film producer (for unknown reason), Loong hired Yip Shiu-Tak (葉紹德) to adapt it for stage with the support of mentor Yam and godfather Luo Pinchao whom Loong called Daddad "爹爹" as suggested by Yam. Both, Loong's second parents, were in the audience for debut.

1982 Stage production The Story of Emperor Li with the same plot/characters was invited by Mr. Hop Louie Woo, VP of Caesars Palace. Being the first to perform Cantonese opera in Las Vegas, Loong was welcomed by Mayor William H. Briare and Mr. Harry Wald. As a pioneer in Cantonese opera community, Loong was visited by the other very active male lead in the 1980s, a keen competitor, backstage in the theatre. Local TV station was also on hand to film and interview. This win, golden commemorative shield awarded by Caesars Palace included, as a pioneer also promoted the former 1968 movie and a finale theme song (used in 1982 stage production but not the movie) released in 1964.Since 1998, the 1964 CD has been receiving CASH Golden Sail Most Performed Works Awards (Chinese Operatic Work) just about every year. CD of two more theme songs from the stage production was released in 1990. Songs from the 1968 movie were never released in any form or shape for commercial purpose.

Yam wore the costume (king's wedding attire) from this movie in her casket while Loong donated her own costume (king's wedding attire) to museum in Hong Kong. Generations of performers continue to use a similar wedding attire as well as all the costume designed specifically for this 1982 stage production, like most of Yam-Loong costumes. These are from a different era compared to regular Cantonese opera costumes. It is a tradition for protégée like Loong to copy costume from mentor like Yam as much as the protégée receiving the mentor's used costume in Cantonese opera community. That's an honor for the younger to be announced as the anointed heir and successor. Loong also appeared to take that honor to heart. Generally, there is no respect for copycats (performers copying the costume) or worse (using a stolen sword once used by a prior generation).

During the 1984 North America tour, Mayor of New York honored the troupe she led just like Mei Lanfang was honored in the 1930s after the performance at Sun Sing Theatre. Loong presented Mayor Ed Koch with a framed seashell drawing ceremoniously in return.

Address: 75 East Broadway, New York, NY 10002

Ticket: US($50, $40, $30, $20 and $15)

Note:- For comparison purpose, ticket price in April 2017 for performance in Bay Area were US($80, $60, $40 and $30).

Without visiting France (4 shows arranged) and Holland (3 shows arranged), the troupe began to perform right upon arrival on 14 instead of 16 August as planned and ended the 43-show trip before 3 October in order to be back in Hong Kong for Cantonese opera pioneer performance at Hong Kong Coliseum, 1984 The Ninth Festival of Asian Arts program.

In Movie Theatres

In 1973 or 1974, Loong preferred stage over film not long after the kick-off of her commercial performance. Loong made only four films, including three remakes of Yam's, as instructed by mentor Yam who was certain that easy money (HK$20,000 a film for Yam in the 1960s but in 1970s rumored to be HK$100,000 a film offered for Loong to leave the troupe after staring the first film.) from films would not take Loong from stage performance. As per John Woo, Loong and co-workers were pure (純), not big-headed or horsing around on set, not like those worldly in jianghu (Chinese: "不似跑慣碼頭" or "冇江湖味"). It was a compliment since those IN would/could not stop, by any means and at all costs, until they get what they, deserve or not, set out for. (「人在江湖，身不由己」)

Films

Credited as Lung Kim-Sang by this particular webpage.

DVD Viewings

Live recordings of stage productions have been in movie theatres for limited releases in 2012 (2011 on stage), 2015 (2014 on stage) and 2016 (2015/6 on stage) as promotion as well as opportunities for audience that missed the stage production events.

In April 2016, 2015 version of the 2016 DVD was a highlight feature of 《myTV SUPER呈獻: 萬千星輝睇多D》 while 2016 version was screened in one movie theatre, for HK$160 (am) or HK$220 (pm).

Life-long Learning

"A performer has the responsibility to better oneself, with or without awards in sight." was Loong's response upon 1990-trophy presentation. Among others, learnt from:

1. Luo Pinchao, Loong's godfather since 1979^Issue#133 and a guru, such as "Ping Gui Leaves the Cave Dwelling (Chinese: 平貴別窯)" - a southern style 南派 well-known title, swordsmanship but with jian (Chinese: 清平劍術), some nanquan (Chinese: 南拳) and through Mr. Luo, many more from PRC.
2. Sichuanese opera (川劇) actor Xiao Ting (Chinese：曉艇, Xiǎo Tǐng) - the art of Chinese foldable/folding hand fans (Chinese: 扇子功)
3. Generally, ("睇人哋嘅戲") just being in the audience with mentor Yam or classmates for Chinese opera, ranging, but not limited to, from Beijing opera, Kunqu, Shanghai opera to Cantonese opera (e.g. when Loong first met godfather Mr. Luo).
4. Performers with all backgrounds while supporting the students.

Loong is known to admire, including but not limited to:

Yue Meiti (Chinese: 岳美緹) - Kunqu actress in male lead role (Chinese: 小生).

Pei Yanling (Chinese: 裴艷玲) - Beijing opera and Kunqu actress in male lead role (Chinese: 生). (Born Pei Xin; 12 August 1947 in Hebei, China) from Oxford reference.

Sabbatical

Loong later retired in 1992, and moved to Canada, as ultimate loyalty to the mentor who asked for nothing in return, tangible or intangible, implicit or explicit, of close to 30 years.

10 March 1992, the retirement announcement shocked the Cantonese opera community. At 48, Loong was supposed to be at her prime as a Cantonese opera performer. In 2004, a veteran member of the Press thought Loong "gain weight" compared to 1992. In addition to weight loss observed by audience, she was actually suffering itchy rash, except face and hands. Since costume covered most of the body, Loong said it was "Thanks to Sin(先) Si(師) Wah(華) Kong(光)!" that she finished performances already scheduled without being noticed.

In 2012 and 2014, Loong disclosed her trips seeking medical treatment and other events leading up to her decision. The death of mentor Yam in 1989 was instrumental to her poor health in those days. However, the decision to end the career on stage stemmed from mentor Yam suggestion in mid-1980 since there were not any good manuscripts in sight. (Yip Shiu Tak died in 2009.) Her troupe could only keep staging 'run-of-the-mill' productions from mentor Yam's iconic roles as "clean-shaven scholars".

Must Excel

Two very outstanding brothers, passed away in 1981 and 1985, were musicians who also composed some very well-known scores for Yam and many others of that generation in 1950-1980. Island of Farewell, the inaugural title for Loong, also was composed by the elder brother who was also one of the very first music teacher for Loong.

Mentor Yam wanted more than just her legacy projects for Loong, the bread-winner for a troupe with over 100 employees who were mostly paid per number of show instead of a salary. Loong would have been just a promotional tool of her mentor's legacy to keep running for decades that gravy train.

(Over HK$350,000 ticket for one 12-show performance was sold out at 4am, in less than 24 hours, in the 1980s. When the box office opened at Sunbeam Theatre, Loong found lines of anxious customers around the building. She arranged with the theatre all-hands-on-deck, veteran of Art Department fondly remembered in 2012, and box-office not to close until sold out.)

Structural Deficit

Other events also explain her exhaustion include the close to 150 a year live productions on stage with only the stage manager, Mr. Leung Hiu-fai, by her side.

As patriarch of her troupe, Loong used to have two lieutenants from the dancer class of 1960. The two amigos with Loong were known as the three musketeers. They moved on in 1988 when her godfather Luo Pinchao also left China for the United States.

Her troupe was further re-organized in 1988/9 and two long time veterans also left the troupe. Since 1972, they had been the "Madame Long" from The Sword of a Loyal Family and crew for Vietnam tour. Lang Chi Bak 靚次伯 (1905-1992) was over 80 years old in 1988. He stayed loyal to Loong's troupe till the very end by not taking jobs on the side like others always do. Lang Chi Bak, like the uncle of Man and Chan Kam-Tong, also volunteered to teach Loong and others for debuts, whether he had a role or not, in 1965 (no role), 1969 (no role) and 1972 (yes). They were not always given the credits even when it was due. There were photographs which marked the occasions.

Those replacing these lost members listed above were not as disciplined or loyal.Yam was backstage and in the audience on 20 February 1989, to check on Loong when the troupe performed The Purple Hairpin for Tong Wah (a charity event), according to one veteran audience who kept that ticket as souvenir.

Last Straw

Mentor Yam managed the lid by refusing radio interview requested by Yip Shiu Tak although she couldn't stop someone (related in a way Yuen called 'no divorce mechanism'「陀名掛字」) showing up without invitation at Kai Tak Airport for photo-op with a school age child on a school day to bid her farewell in front of the Press which 'happened' to be there. That resulted magazine cover was the only public photo Yam had with former acquaintance since the December 1969 wedding banquet of a musician. Record speaks volume about the intention. The acquaintance paid Yam a visit backstage for the Press only after movie roles dried up. Prior to such reality, a group photo as one of the "kids" in 1968 at Kai Tak Airport did not happen. Opportunities to work with mentor Yam in a film or on stage were all rejected.

Before leaving for Canada on 9 June 1987, Yam was busy talking business with Luo Pinchao and holding on to Loong as a walking stick, before joining three co-workers of Loong for a press conference. To the Press, however, Yam always kept a distance since 1982 debut of The Story of Emperor Li. Her involvement would have otherwise cast a long shadow on Loong. Yam named all four (Kong, the fifth, left months ago) remaining "kids" individually in 1977 to the Press, talking how proud of the box-office they achieved and refusing, too old and weak, to take in more "kids". (Records set by all five in SE Asia tours still hold today.) Loong, the assigned messenger, also was keeping the Press posted in all fronts and writing a newspaper column called "阿刨話你知" (Translate: Loong "阿刨" tells you) for a while in 1985.

The Yam MIC (as Eisenhower's MIC) was born on 29 November 1989. All hell broke loose. Book deals, interviews on TV, by the Press in general, academics' researches, former acquaintances, etc. became the livelihood of those not even remotely related to the group. Distractions from performances on stage as predicted long time ago popped up everywhere but mentor Yam cannot rein them in from six feet under. There were enough "kids" of Yam to form two soccer teams all of a sudden although Yam did not associate with them at all. 29 August 1982, Yam returned from Europe to Hong Kong with a broken left-wrist. Loong was the one photographed holding/helping (服侍) the mentor who looked agitated/frightened at Kai Tak Airport.

Loong realized the exhaustion and illness could show up on stage one day. Better be safe than be sorry (獻醜不如藏拙) is Loong's motto. That would bring shame to mentor Yam who is known to mind very much the reputation as reflected by this offspring (子侄) shaped by her own two hands and introduced to the wider audience on 24 June 1972, TVB telethon event that was hosted for the victims in the June 18 landslide.

Comeback

In November 2004, in commemoration of 15th anniversary of her passing, her mentor Yam Kim Fai, Loong returned to the stage. Her work from 2005 onwards were considered the only game in town by Lai Po Yu and many others Repeatedly returning investors as well as three generations of returning and growing audiences, Loong remains the Cantonese Opera performer with best box-office record.

Decline to Accept Invitations

From September 2005 to September 2008, Loong performed 80 shows to full houses (mostly full version of two titles) for charity purpose in Hong Kong and Macau. Having had a Microscopic surgery just two months ahead and not yet fully recovered in 2006, Loong took on a very demanding, physically and emotionally, iconic role as male lead in Di Nü Hua as already scheduled. (Her absence would mean huge financial loss for the investor but not for her since she was not paid for those jobs.)

"Prepared but be spontaneous to keep the performance refreshing in every show, as if it were the first show even for the Nth time in the same role", a bar set by mentor Yam for Loong, resulted in close to 40 versions of each of those two titles. This requirement from mentor Yam explains the challenge for Loong to be on stage within a six-month period and provide 40 different (in some way in one or two acts out of total 6 to 8) but still GOOD interpretations without changing the show as a whole. This organic way, to hunt/harvest for the meal instead of "frozen" or "canned", was the only way acceptable to Yam and therefore set Loong apart from classmates or performers of a generation from very early days.

That makes it worthwhile for those who pay for their tickets to be back every day for every show. Yuen talked about how the practice, by those who could afford would keep going by giving away tickets as a habit, damaged the business environment of the Cantonese opera community for good. That is, small businesses without deep pockets could not get audience to pay for tickets anymore. There was a report that backstage staff of even a particular performance, "cream of the crop" female lead and close to 70-year veteran, at one theatre was approached for expected free tickets.

Mentor Yam also inspired then young performer, Leung Hon-wai (1944－2011), that low audience turnout still would not warrant insincere or low quality performances (欺場冇衣食) even before Leung was on stage at Kai De Amusement Park Cantonese Opera Theatre. The reason is supposed to be that the single or two in the audience would have been the only and best word of mouth a performance would get that way. The reputation so resulted could make or break a troupe. (Leung was the villain, later played by Leung Sing Bor, in 1969 full version "Farewell, My Husband" - the debut title of Loong.)

22 February 2009, Leung and others talked about how, without star power as stimulus, to get audience back. Loong's name came up at such forum that was live-streamed on TV/radio in Hong Kong. In the 1970s, Loong apparently was the daily topic at lunch for white collars in Central (financial district of Hong Kong) and young girls (some still in school uniforms at backstage exits).

Talk of "basking in the glory" was a popular topic months before the 30 October UNESCO announcement, Loong did not join fellow performers on one of those days, 31 October 2009.

In 2009, 60th anniversary of the People's Republic of China, a series of celebration activities were held in Hong Kong,. Loong was invited as one of two special guests "specifically 31 October (Saturday) 特邀嘉賓" in Cantonese opera gala to celebrate National Day to perform in the Hong Kong Coliseum.

In August 2010, when a new manuscript was sent to her in Canada, Loong replied within couple of days that she had no plan to return to stage.

In 2011, Loong refused to give a seminar or a speech when requested/threatened/extorted, depending on the yet to be disclosed exact communication between the event organizer and The Hong Kong Academy for Performing Arts (HKAPA). The investor booking Lyric Theatre, HKAPA, was required to donate HK$500,000 eventually. Being exposed, one anonymous HKAPA student complained about their benefiting from such a demand not taken as righteous work of HKAPA. 2012 CD released as a result, Loong paying back the investor in full and some more, had not been reported so far as such. Easy Come Easy Go. Neither were there any announcement, advertisement, ceremony, plaque or bursary in Loong's name yet. How the investor squandered that in the following venture was implied in some reports.

Rod Tidwell in Jerry Maguire would have said: "Show me the money!"

However, Loong has no cult of personality character (沽名鈞譽) in her.

Since 2014

Loong described the sessions with new "love interests" as sharing all she learnt, about being a female lead, with performers who were too young to be in the audience from 1973 to 1992 (Loong) or way back from 1956 to 1969 (Yam). However, she did not take in pupils or students, if not for a fee, to elevate herself as many do in the Cantonese opera community. Instead, she called them "young ladies" in radio interview (Vancouver, BC) when three of them visited her to get some rehearsals and training done for the 2015/6 event. Loong sat idle waiting for rehearsals back when she worked with female leads who were being trained right in the middle of a rehearsal/review session. Having had those close encounters as a male lead on top of having been trained for other female roles herself performed, though few and far between because of the voice she has, Loong put all those years/months/days/hours of observations/trainings to good use. Cherie Chung is said to be a fan of Loong because of her (female role) performance in The Handsome Pan'an.

Excerpts of Cantonese Opera by Lung Kim-sang

In 2014, Loong, for the first time, shared stage with and opposite new "love interests" to commemorate the quarter of a century since the passing of her mentor Yam. Cheng Nga-kei (鄭雅琪) and Li Pui-yan, Eliza (李沛妍) were chosen as the new "love interests". They travelled to Vancouver BC for intensive training in September 2013 but the announcement was not made until April 2014.

Title of this event in Chinese is "Ren Yi Sheng Hui Nian Long Qing" (任藝笙輝念濃情), a series of 25 shows in tribute to mentor Yam's iconic roles and AAA (art, acrobatics, acting) on stage.

Program detail

Two acts from The Peony Pavilion

1. "A walk in the Garden / The Interruption of a Dream" 《牡丹亭驚夢之遊園驚夢》
2. "Spectral Marriage" 《牡丹亭驚夢之幽媾》

--- Intermission ---

Four acts from The Purple Hairpin (plot)

1. Recover a purple hairpin 《紫釵記之燈街拾翠》
2. Departure 《紫釵記之陽關折柳》
3. Meet "Yellow Gown" 《紫釵記之花前遇俠》
4. Reunion 《紫釵記之劍合釵圓》

Controversies

1. In 1964, in mentor Yam's costume, Loong first performed the first act opposite assistant tutor (Miss Lee, 大師姐李居安) for the press as graduation report. In the second act, the way, acrobatics in particular, Loong performed on stage since very early days has been the protocol for all performers that followed. In 2014, Loong did not follow what used to be the routine she created in the two acts from The Peony Pavilion.
2. "A Walk in the Garden" received mixed reviews from audience and critics about the use of abstraction by acrobatics instead of a physical "swing" on stage for the "love interests" to sit on.
3. The "Yellow Gown" was wearing an orange gown.
4. The choice of Meet "Yellow Gown" instead of the act before, Decline to Accept Marriage Proposal, which is generally accepted as one of the two best reflections of mentor Yam's martial arts background on stage as "clean-shaven scholars". (In 2005/6/7, Loong has already illustrated (走鑼邊花) on record the other well-known performance of mentor Yam in the second-to-last act of Di Nü Hua)
5. Loong could not hit the high note in December because of a cold. She managed to perform as scheduled just by avoiding high pitch, that is, modifying the intonations when necessary. Technically, a computerized pre-taped version could have been used but Loong did not resort to cheating.
6. Veteran audience noticed that the new "love interests" are almost half-foot taller than Loong's usual co-stars for 55 years.

The Purple Hairpin

Early 2015, the Press praised the effort in 2014 and called for continuation of such opportunities in the future for other up-and-coming performers of other main roles. Loong answered the call by announcing the 2015/2016 event in January 2015. The two new "love interests" for this full version are following the first one in Vietnam, then in 1973 the youngest classmate from 1963 and lastly a classmate from 1960.

The 2015/2016 Lyric Theatre, HKAPA, follow up is a 16-shows opportunity for group of all, but Loong, up-and-coming performers in main roles in front of nightly crowd of over 1000. Loong's effort, headlining The Purple Hairpin (龍劍笙:紫釵記全劇) on 16 nights and keeping the role of Li Yi (李益 ), is supported by Artistic Director Yam Bing Yee (任冰兒), younger sister of mentor Yam.

In 2015, Loong has also, for the first time ever, taken Man Wah under her wing as understudy to play the same character Loong played as understudy for mentor Yam in 1968/9.

Two up-and-coming performers, Leung Wai-hong, Wyborn (梁煒康) and Lai Yiu-wai (黎耀威), completed the six main members (六柱制, six pillars system in Hong Kong) of this event and played three characters (the two created by Leung Sing Bor and one created by Lang Chi Bak) between them.

Choreography of those scenes already performed in 2014 were re-arranged/re-designed in 2015 and again in 2016 to a more demanding pattern. The bar was raised for the "love interests" and other pillars as well.

Musicians of live band were required to go back to the "original" rhythm/beat in tribute to mentor Yam's "crisp (brisk, forceful & clear)" 爽快 vocal style.

In 2004, Loong expressed such desire already but in vain.

"Over years, legacy projects of mentor Yam, being staged frequently, have become a very poor quality stencil instead of a xerox with the best technology available." - according to one contemporary librettist.

Law, a peer of Loong, called the most active performers a '2nd' generation compared to himself as 'tier 1' generation and those being tutored by various NGOs as '3rd' generation. The '2nd' generation were in the audience in the 1970s and 1980s to observe Loong performance. From 1973 to 1992, Loong was fully engaged in multi-generational competitions, dueling at times, as the youngest among them.

Loong summarized her own role as "showing this particular generation how Cantonese opera was done" in her time. No director, choreographer, set designer or costume designer was hired like back in her days as career performer. Male leads, the breadwinners, take all these roles generally.

She had some of these performers in Vancouver BC for training in April 2015. In Hong Kong, she had all performers for training/fine tuning/rehearsal since late August 2015. For these performers' benefit, Loong played all characters, singing, acrobatics and acting included, opposite them in one-to-one rehearsals or just to show them how to improve. Loong also shared from memory the cliff notes (私伙介口), individual manner original cast played those characters. Loong shared the stage with the original cast in 1968/9 and then the rest of their lives.

Responses

1. Veteran audience praised Loong spending a year to fine tune a complete set of performers of all six generic positions.
2. Looking perfect as lovers on stage opposite new "love interests".
3. As if Yam Kim-fai were back alive on stage.
4. With "Loong Kim Sang" as brand name, Loong is THE Male Lead and illustrated again the Yam's AAA of Cantonese opera.
5. Yam "crisp (brisk, forceful & clear)" vocal style was in full display when Loong portrayed the Li Yi character in two scenes, Decline to Accept Marriage Proposal and Princely Favors.
6. Loong demonstrated how to build the character up with frequent but small body movements.

The Peony Pavilion

The Peony Pavilion was one of the five titles mentor Yam shared the stage with Loong and classmates in 1968/69/70. Chu (1972 in orange dress) and Koi (1972 in green dress), instead of Loong, shared the two characters usually played by second male lead in this title. Chu was the emperor while Koi (1941－2007) was the cousin. They did not have much interaction with Yam on stage. (That may or may not be the reason, as an exception, Loong did not get to play these.) Chu talked about her own experience in an interview as to how to cope with realizing the wrong name out of her mouth and the mentor Yam who could deal with it.

Another highlight of this title is the major role of second female lead, originally (as well as in 68/69/70) played by Art Director Yam Bing Yee (任冰兒), younger sister of mentor Yam. She was part of the main theme of original Act One in 1956 but not since. Audience was not patient to see the first and second female leads on stage for over half an hour before the character played by mentor Yam showed up. The third female lead, the younger nun, had very interesting scripted interaction with mentor Yam but did not get good review.^{Issue#108/116/122}

Putting full version of this title (Chinese: 龍劍笙 - 牡丹亭驚夢全劇) on stage completes the 2014 event in remembrance of mentor Yam.

AAA on Stage

AAA (art, acrobatics, acting) and stage presence, eye popping to Yam, described and compared to mentor Yam by Cantonese opera veterans and up-and-coming performers, as:

1. With grace or chic (瀟灑) and charm, take the stage (亮相), ooze charisma and enchant their audiences.
2. Loong's eyes (關目) can talk, according to Yip Shiu Tak, and communicate emotions to fellow performers and audiences, according to new "love interests". Some would swoon from just a glance upon them, according to Law. Yam Bing Yee (任冰兒), younger sister of mentor Yam, said Yam was born with a pair of eyes that shine on stage.
3. Natural with connotations coming from the heart according to their experience in rehearsals.
4. "Look effortless", comparing the mentor and protégée to someone taking garlic everyday that the aroma just comes off and one can feel it three feet away (Chinese: 完全沒有斧鑿痕跡), said Yuen, a peer to Loong. This veteran shared the stage with both Loong (including 2014) and Yam (only once according to himself in 2009 TV interview).

In 1999, the 10th anniversary of passing of mentor Yam, Loong disclosed the first time on camera, Yam's rule of thumb, "Be Natural" (Chinese: 自然就是美)."2015 Talk on the Rendition of Yam Kim Fai", as just about all those have been speaking publicly since 1999, referred to this term first coined by Loong.

Again in 2013 to 2016, Loong shared more of her "heritance" with up-and-coming performers. For example, the new "love interests" were asked to study meticulously the manuscript and to memorize the lines before meeting Loong in September 2013 for rehearsals in Vancouver BC. Moreover, Loong suggested that studying beyond their own lines would give them an advantage on stage generally.

No painting the town red. As ethical standard, Loong instituted in them responsibility to stay warm/eat healthy and compete only by performance on stage. (That was the manner Yam preferred, no fighting with classmates, per Chu, 朱劍丹師傅.)

1990 Artists of The Year Awards in Acting

Loong was awarded in 1990 the best actor's award by the Hong Kong Artists Alliance.

2016 IFPI Awards

Loong, credited as Lung Kim Sheng, DVD "Zi Chai Ji (Quan Ju)" 紫釵記(全劇)

2015 IFPI Awards

Loong, credited as Lung Kim Sheng, just received encouragement for her effort to remember her mentor Yam Kim Fai and pay-it-forward to bring up-and-coming performers onto stage in 2014.

DVD of the event "Ren Yi Sheng Hui Nian Long Qing" (任藝笙輝念濃情), one of the 2015 Best Sales Releases, Classical and Operatic Works Recording, was live recording of 2014 stage production.

Loong was one of "Ten Best Sales Local Artistes" (Order in Chinese Stroke Counts) for the third album after the award for two released in 2012.

2012 IFPI Awards

Loong, credited as Lung Kim Sheng, DVD "Ren Qu Sheng Yun" (任曲笙韻) and "Long Qing Shi Yi Ban Shi Ji" (龍情詩意半世紀).

2011 IFPI Awards

Loong, credited as Lung Kim Sheng, was awarded The IFPI Hong Kong Award for Excellent Contribution to Cantonese Opera IFPI (香港粵劇貢獻大獎).

1982 Gold Disc Award

洞庭十送