Under the spotlight, he is the troubadour Gringoire, and also the madly jealous Salieri. But in the hearts of Chinese audiences, he has a warmer name – "Lao Hang Ban" (a playful phonetic rendition of his name, meaning "Old Flight"). Laurent Bàn, this French musical actor, has spent nearly two decades transforming himself from a regular stage performer into a bridge between Chinese and French cultures. He has not only witnessed the rapid expansion of China's musical theater market but has also personally invested in it, nurturing a cross-cultural artistic connection with his songs and sweat.
In 2005, Laurent Bàn came to China as part of the first seven-member team with the French musical Notre Dame de Paris. This work, brimming with French passion, quickly won the hearts of Chinese audiences and paved the way for French musical tours in China. Since then, French musicals such as Mozart, l'opéra rock, Don Juan, Le Rouge et le Noir, and Roméo et Juliette have successively toured China, year after year, with undiminished popularity. This also forged Laurent Bàn's enduring, twenty-year connection with China.
The East-Meets-West "GeLao"
If bringing French plays to China is considered "introduction," then personally performing in a Chinese original musical represents a deep "integration" for Laurent Pelly. In the musical "The Longest Day in Chang'an," adapted from Ma Boyong's novel and depicting a mysterious case from the Tang Dynasty, he was invited to play the role of "Ge Lao," becoming the first foreign musical star to participate in a Chinese original musical. However, this breakthrough brought challenges beyond imagination; he himself admitted, "It's crazy. I never thought it would be this difficult." To master five songs and five scenes of Chinese dialogue, he spent two months in intense practice, experiencing so much pressure that he had nightmares every night, fearing that no one would understand his Chinese.
But he didn't back down; instead, he saw this challenge as a creative opportunity. For this character, who hails from the Kunlun Mountains, he infused French elegance and humor, even playfully interjecting a few French phrases, creating a unique, East-meets-West "Ge Lao." When his rendition of "Le Chef" resonated with audiences, the success was not just for a role, but a beautiful spark born from a cultural collision. "Chinese creators can combine stunning visual effects with a deeply poetic philosophical core," he genuinely praised, "I truly appreciate this unique fusion."
From "infant" to "adolescent": A witness to the growth of Chinese musicals
From 2005 to the present, Laurent Bàn's perspective perfectly encapsulates the growth history of Chinese musicals. "If twenty years ago it was still an 'infant,' now it's an 'adolescent,'" he remarked. He has watched countless young Chinese actors rise and the market grow exponentially. But he looks further, believing that after learning from the styles of the West End and Broadway, the next step for Chinese musicals is to find their own true style.
"Chinese people possess such a profound indigenous culture," he stated with conviction. "The accumulated cultural essence of five millennia in China will ultimately allow Chinese musicals to forge their own path."
Morethan anactor
Twenty years have passed, and Laurent Bàn's story is already more than just dazzling performances on stage. It is even more a journey of him warmly and steadfastly sowing the romance and passion of France into Chinese soil.
Today, Laurent Bàn's name has long transcended that of a mere actor. He has become a vibrant and warm emblem in Sino-French artistic exchange, composing a cross-border symphony in his unique way. What he has left here is not only moving melodies but also a dedication to art and a deep aspiration for cultural integration. This bond is sure to continue to shine brightly and flourish in the future.
(Reporter: Rachel Liu; Camerapeople: Julianne, Shuai Cheng, Rachel Liu; Video Editor: Julianne; English Editor: Rachel Liu, Darius)
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