This almost forgotten period has been placed under the spotlight in "April Rain," an original musical presented by All Music Theater that runs until Aug. 24. Based on the early 20th-century songwriter's life, the story portrays a time when artists and the intelligentsia were inspired by their social freedoms and dared to dream big. "Although the plot line follows the composer's life, 'April Rain' is more like a sketch of the time rather than a biographical piece," said Yang Chung-heng, the musical's art director and playwright.
Epitomizing the 1930s' zeitgeist, the show opens with the character of Deng and others singing: "Don't be afraid, we shall move toward the dawn of a new civilized society with steady steps. Keep dancing in this prosperous city of Taipei, because we're the most stylish."
In a cafe--which was considered a top spot for people to meet and socialize during that era--the first generation of students who studied abroad and locally educated elites exchanged opinions about the world while listening to popular songs. "I am a modern girl who loves freedom," so sings the female character Ai-ai. "What happens outside doesn't bother me; I just dance the trot and seize the day!"
According to Yang, the life story of Deng is representative of these idealistic intellectuals. "While writing the play, I constantly thought of the opera 'La Boheme,' in which a group of young artists dedicated to their art suffered from the ravages of poverty in Paris." In addition to experiencing firsthand the gap between reality and the ideal--just like "La Boheme's" Rodolfo and Mimi--Deng and his friends struggled to forge national and cultural identities in a society where different cultures, including Holo, Hakka, Japanese and Chinese, were intertwined and sometimes clashed.
Born into an elite Hakka family in 1906, Deng was educated at Taipei Normal School and later became a Mandarin teacher, which was considered a prestigious position during the Japanese colonial period (1895-1945). However, his affinity for music saw him give up the job and leave for Japan to pursue further study of his beloved art. After returning to Taiwan, Deng devoted himself to writing folk music in Holo, even though his passions were branded by his father--also a respected teacher--as "useless."
Deng strived to create music that matched his artistic taste and reflected the voice of the public as well. These efforts were finally recognized in 1932, when his "Dadaocheng March" received good reviews. After signing with Columbia Records as an in-house composer, Deng's compositions soon became radio hits. Melodies of "Longing for the Spring Breeze," "Flowers in a Rainy Night" and "Sorrow in a Moonlit Night" were heard almost everywhere on the island, and were popular in Japan.
"His music created a concord in different classes and cultural groups of Taiwanese society," said Yang Shih-ping, the director of the show and a major lyricist. "Deng showed the public that authentic Taiwanese music could be beautiful and touching." Yang explained that the musician's legacy was often understated by scholars and not properly introduced to the public. "Deng was a cutting-edge talent who not only composed, but also had a profound knowledge of the Western tradition of classical music," she said. "His composition of Taiwanese ballads, sometimes undervalued as second-rate or mediocre in some contemporary scholars' eyes, is no less valuable than Franz Schubert's 'Der Lindenbaum' was for Austria."
Similarly devoted to music like Deng, Ran Tian-hao--the production's music director and composer--followed the example of the legendary artist by insisting on the creation of original pieces while also re-presenting some classic Deng pieces. "I don't want to produce a theatrical compilation of old songs such as 'Mamma Mia,' or a brand new creation detached from the past," he said.
This challenge was one that Ran quickly accepted and is evidenced by his success at striking a balance between old and new in the show. "April Rain" uses only five of Deng's compositions, with Ran writing the remaining 30 songs that combine elements of Japanese traditional music, the approach of Deng, a method for composing arias of western-style operas and of course, his own unique style. By using these nostalgic tunes, the composer manages to take the audience on a musical journey back to the 1930s.
Another reason for the popularity of "April Rain" with showgoers is the fact that it is the first time a Taiwanese musical has been composed in four languages--Holo, Hakka, Japanese and Mandarin. Holo, also known as Taiwanese, and Hakka are two Chinese dialects spoken by over 70 percent of Taiwan's population.
The use of multiple languages in the show contributes to the creation of a more authentic period atmosphere, and is a unique way of capturing the multilingual spirit of the nation. The major dialect used by the cast is Holo, which is the dominant dialect in Taiwan. Yet, some of the songs are performed in Hakka because of the composer's family background. Meanwhile, since Deng studied in Japan and lived through Taiwan's colonial period, several pieces sung by some characters--such as soldiers--are in Japanese.
For Ran, the seamless coordination of music and lyrics is crucial. "I do not know how to speak Holo, and that is why it is a great challenge for me to write music for the dialect," he stated, "Later, I discovered that dialects contain such rich veins of music in themselves, and the emotion they possess effortlessly draws the melodies from my pen." This experience is very different from creating music for Mandarin lyrics, Ran added.
Experiencing a diversity of cultures may be beneficial when it comes to music composition, but in terms of personal identity, Deng suffered from confusion. Although his songs were composed using Holo lyrics, Deng was no stranger to the influence of Japanese culture. After the colonial regime forced Taiwanese people to assimilate under the emperor's rule, Deng found himself in danger of losing his identity and artistic freedom.
"Deng was forced to write music for the colonial government, and his hit songs were given new Japanese lyrics in order to encourage more young people to join the army and to fight for the emperor," Yang said. The composer Ran and the lyricist, Wang Yu-hui wrote the song, "I am Higashida," to represent Deng's inner struggle. On the stage, Deng questioned himself as to who he really was, and finally realized that "No matter what name is used, the jasmine still smells good, I will be a shower soothing the draught. My melodies will last for a thousand years."
However, seeing his music utilized as a political tool eventually proved unbearable for Deng. And in 1940, he withdrew from the world of professional music and lived a reclusive life in Hsinchu City as an elementary school teacher until passing away at age 39 from heart disease.
Indeed, while Deng is a tragic artist--a victim of the changing times and political manipulation--he was definitely not alone. "I would like to remind the audience that many Japanese soldiers also struggled with their desire for peace and the call of patriotism," director Yang stated. "There is no absolute good or evil in life, only humanity."
With such a humanist perspective and well-arranged music, it comes as no surprise that the musical appeals to audiences of all ages. "Young people's warm words and positive comments flood our official blogs and Web sites," Yang said. "Seniors also thank us with tears in their eyes after the performance."
Following the two runs of "April Rain" last year, which won rave reviews from the critics, the show returned again in June at the National Theatre for an encore performance. Boasting improved sets and costumes, the production has so far proved a hit with audiences in Taichung, Taipei and Tainan Cities, with full houses expected in Hsinchu and on the final night in Kaohsiung City.
This enthusiastic response gave much needed encouragement to All Music Theater, which insists on creating original musicals instead of reviving Broadway pieces. "Deng's music has lingered on for almost a century, and it will keep going," Yang said. "We hope to inherit the great composer's legacy and hand it on to the next generation of music lovers."
Write Amber Wu at amber0207@mail.gio.gov.tw