In the turbulent Shanghai Bund of the Republican era, the alluring and sultry songstress Manman arrives from Hong Kong, while the composed and introspective idealist Shen Wenjun—two women of vastly different backgrounds—find themselves thrown together under the same roof by a twist of fate. From mutual suspicion and guarded probing to trust, their intertwined destinies give voice to the power of perseverance and redemption in a chaotic age.
This is the story of The Butterfly on the Bund 1939, a Republican-era suspense musical featuring a dual female lead. The production recently enjoyed a rousing reception during its run in Shenzhen. In this current round of performances, Xu Zihan, who plays Manman, and Zhao Yuhui, who portrays Shen Wenjun, shared their journeys with these characters.
Interwoven fates
Speaking about her interpretation of the character, Zhao cited the apt description of Wenjun from the musical—"the icy sun." She admitted that amid the upheaval of the Republican era, Wenjun carries immense ideals and a deep sense of national duty, yet as "an ordinary person," she can also feel at a loss when faced with monumental tasks.
"Manman's arrival is what anchors her," Zhao said. It is Manman who allows Wenjun, while embracing the world from a grander perspective, to also reconnect with her personal "desires" and humanity—realizing that she is still a "living person in this world."
In contrast, Xu noted that what Manman sees in Wenjun is the steadfastness of idealism. According to Xu, Manman may appear coquettish and seductive on the surface, but she is tough beneath a gentle exterior, wrapping her resilience in worldliness as a camouflage for survival in a lawless era. Wenjun's presence, she said, makes her "begin to look forward to tomorrow."
Crossing two cities
"A pleasure den where money flows like water—this is Hong Kong." During the Shenzhen performances, Xu sang this number, If You Come to Hong Kong, in Cantonese—a choice that brought the work closer to Cantonese-speaking audiences, fostering a deeper sense of familiarity and cultural resonance.
In fact, from its very inception, The Butterfly on the Bund 1939 embraced the concept of a "tale of two cities," with Manman's journey back to Shanghai from Hong Kong serving as a vital thread linking the city to the main storyline. The narrative texture, imbued with the evocative atmospheres of both Shanghai and Hong Kong, has become a signature feature that distinguishes the musical from its peers.
The distinctive quality stems largely from the creative team's own lived experiences. One of the two scriptwriters once worked in Hong Kong for an extended period, while a member of the composing team grew up in Shilong, Dongguan, deeply influenced by Cantopop and Hong Kong's early entertainment culture. The two actresses, too, found themselves connecting with the Hong Kong of the last century as they delved into their characters, immersing themselves in the more vibrant and expressive Hong Kong style.
Go big: New chapter for "Chinese-style" original musicals
Since 2024, the Korean-language version of the musical has been staged in South Korea, sparking a Chinese wave in Seoul's theatre-packed Daehangno district and becoming the first original Chinese musical to hold an overseas residency.
When asked about the show's overseas appeal, Zhao attributed it to the Republican-era setting, with its associations of romance and mystery, enhanced by visual elements like the qipao, which hold a natural allure for international audiences.
Xu, meanwhile, noted that the musical is a profoundly Chinese work; its songs are largely the characters' inner monologues, understated yet poetic, often revealing only half while leaving the other half unsaid. She believes this subtle, layered mode of expression is precisely the essence of traditional Chinese artistry, and it is what sets it apart from other musicals.
The awakening of "she power"
The success of The Butterfly on the Bund 1939 also underscores the growing audience appetite for women's stories. Xu Zihan observed, "We are now playing characters with a strong sense of agency—women are truly becoming the protagonists." In the past, the center of the stage was often dominated by male roles, but today, female characters like Manman and Wenjun are shining with their own unique light, becoming increasingly compelling.
Zhao emphasized that the musical does not set out to champion any radical form of feminism; rather, it simply and sincerely tells women's stories. This exploration of female experiences represents a vital direction in contemporary Chinese musical theatre. It not only demonstrates the box-office influence of female performers but also inspires a new generation of creators "to dare to take on this endeavor"—to craft more diverse, multifaceted female characters and narratives.
(Reporters: Rachel Liu, Kelly Yang; Camerapeople & Video Editors: Yi, Rachel Liu; English Editor: Rachel Liu, Darius)
Comment