The Monkiest King Swings into Harbourfront This Weekend
May 30-June 1, 2025
Harbourfront Centre Theatre
Written by Fete Chinoise Editorial Team (Deirdre Kelly, Kayla Lo and Deborah Lau-Yu)
With notes from the Canadian Children's Opera Company, William Yong
Photos Courtesy of William Yong, Photography: Oliver Salathiel, Sam Javanrouh.
The Canadian Children’s Opera Company’s The Monkiest King returned to Harbourfront Centre last week, transformed from its original 2017 staging. Under William Yong’s direction, the production burst with energy, featuring a red-and-white set, brushstroke calligraphy and distinctive props: handheld clouds, animal masks and costumes that defined each character at a glance. Composer Alice Ping Yee Ho and librettist Marjorie Chan brought renewed clarity and pace to the story, while choreography kept more than 100 young performers – many new to the stage – in constant, dynamic motion. The sold-out run drew sustained applause, demonstrating how a classic tale can feel immediate and relevant in the right hands. – Deirdre Kelly
Photography: Sam Javanrouh.
For many who grew up in Chinese households, the tale of Journey to the West is as iconic as the Brothers Grimm fairy tales, filled with wonder, adventure, and timeless lessons. The mischievous Monkey King, Sun Wukong, is one of the iconic protagonist: born from stone, armed with supernatural powers, and capable of transforming into 72 different forms. A trickster, a hero, and a childhood icon.
Photography: Sam Javanrouh.
This weekend, the Canadian Children’s Opera Company brings The Monkiest King to life at Harbourfront Centre Theatre. Created by a renowned team–composer Alice Ping Yee Ho, librettist Marjorie Chan, and director William Yong–the production reimagines the Monkey King's early trials and growth, performed by young talents alongside a live chamber orchestra. Expect a dynamic fusion of Western and traditional Chinese instruments, including the erhu, pipa, guzheng, harp, and more.
William Yong, recently featured in Fête Chinoise Edition 10: Thinking in Decades, opened this year’s Fête Chinoise Signature Event at Lunar New Year with a stunning performance and poetry inspired by the concept of a tree, symbolising the connection between past and future generations. How fitting that he now directs this opera, guiding young voices in a story deeply rooted in cultural legacy. It’s a beautiful continuation of his work in nurturing the next generation of opera in Canada and carrying legacies forward with refreshed narratives.
Perfect for a family outing–tickets are already 90% sold, so reserve yours online soon!
IMage: Courtesy of William Yong.
Synopsis
Poster image photographed by Jason George
The tale of the Monkey King, Sun Wukong, has captivated audiences for centuries, becoming one of the most beloved comic and mythological stories. This legendary journey follows a mischievous yet determined figure who rises from humble beginnings to become a great protector of humanity. Along the way, he learns the values of chivalry, bravery, and compassion through a series of thrilling adventures: an escapade in the animal kingdom, a confrontation with the Jade Emperor, enlightenment from the Goddess of Mercy (Kwanyin), and a heroic act to save a village from devastating floods.
Step into the world of the Monkey King as he matures through his trials as a young, super-powered monkey. This operatic retelling of the iconic Song Dynasty character is a collaboration by the award-winning team of composer Alice Ping Yee Ho and librettist Marjorie Chan. Re-imagined in this latest production by visionary director William Yong with his creative team costume designer Lisa Mann and lighting designer Noah Feaver. It is brought to life by the remarkable talents of the Canadian Children’s Opera Company’s young performers, supported by a professional chamber orchestra blending Western and Chinese instruments.
The Monkiest King is a vibrant and heartwarming production that breathes new life into the legendary Monkey King’s timeless tale.
Approximately 60 minutes without intermission.
Photography: Sam Javanrouh.
Date & Time
Friday, May 30, 2025 – 7:30 p.m. Opening Night
Saturday, May 31, 2025 – 3 p.m. and 7:30 p.m.
Sunday, June 1, 2025 – 3 p.m.
IMage: Courtesy of William Yong.
Artistic and Creative Team
Director, choreographer and Scenic Designer: William Yong
Composer: Alice Ping Yee Ho
Librettist: Marjorie Chan
Music Director and Conductor: Teri Dunn
Assistant Director: Chelsea Woolley
Lighting Designer: Noah Feaver
Costume and Props Designer: Lisa Mann
Props Designer and Props Builder: Michele Morgan
Production Manager and Technical Director: Barney Bayliss
Chinese Calligrapher: Letitia Tsai
CCOC Executive Director: Katherine Semcesen
Illustrator of The Monkiest King drawing: Lisa Mann
First Image Designer: Carmen Dunjko
IMage: Courtesy of William Yong.
Casting for Public Performances
Friday, May 30 at 7:30 p.m. | Saturday, May 31 at 3 p.m.
Guard/Jade Emperor – Daniel Park
Piper/Monkiest King – Olivia Pady
Sven Soldier – Lily McIntosh
Sammy Soldier – Lee Macerollo-Korzeniowski
Saul Soldier – Cecilia Hamilton
Soldier Chorus – Eve Murray, Beatrice Marcaccini, Lilia Javanrouh-Givi
Horse 8 – Joel Glickman Rosen
Golden Fish/Kwanyin – Daisy Cardich-Soria
Photography: Sam Javanrouh.
Saturday, May 31 at 7:30 p.m. | Sunday, June 1 at 3 p.m.
Guard/Jade Emperor – Joel Glickman Rosen
Piper/Monkiest King – Sofia Melnyk-Gomez
Sven Soldier – Eve Murray
Sammy Soldier – Beatrice Marcaccini
Saul Soldier – Lilia Javanrouh-Givi
Soldier Chorus – Lily McIntosh, Lee Macerollo-Korzeniowski, Cecilia Hamilton
Horse 8 – Daniel Park
Golden Fish/Kwanyin – Aviva Marche
IMage: Courtesy of William Yong.
Director’s Note
“Growing up in Hong Kong, the story of the Monkey King was everywhere—woven into cartoons, television dramas, schoolbooks, and the cultural imagination. As a child, I was mesmerized by his chaotic energy, magical powers, and defiant spirit. I must have seen dozens of versions, each shaping my understanding of what it meant to question authority, stand up for justice, and navigate a complicated world.
“In an era marked by uncertainty, social upheaval, and rapid change, Sun Wukong’s journey from mischief to wisdom mirrors our collective need to grow through difficult times with empathy and resilience.”
Now, revisiting this legendary tale as a director, I see even more clearly how The Monkiest King speaks to our times. In an era marked by uncertainty, social upheaval, and rapid change, Sun Wukong’s journey from mischief to wisdom mirrors our collective need to grow through difficult times with empathy and resilience. His transformation is more than myth—it’s a powerful reflection of today’s global movements that confront oppression and demand accountability. This story echoes our current climate and humanitarian crises, calling for unity, compassion, and action.
Photography: Sam Javanrouh.
Although this is the second time the Canadian Children’s Opera Company has presented The Monkiest King, I was honoured to be invited to completely re-imagine the direction and staging. This production is born from deep care and hard work—not only my own, but that of an exceptional creative team and the Canadian Children’s Opera Company. It has been profoundly moving to work with CCOC’s extraordinary young artists. Their commitment, creativity, and courage inspire me every day. I wanted them to have more than just a performance—I wanted them to have an experience that empowers them, both artistically and personally.
IMage: Courtesy of William Yong.
Composer Alice Ping Yee Ho and librettist Marjorie Chan have crafted a rich and imaginative score and story that draws from both Western and Chinese musical traditions. I am grateful to Music Director and Conductor Teri Dunn, whose leadership and musical insight have guided the musicians and young choristers in bringing this vibrant score to life with clarity, precision, and heart. The design team’s evocative costumes and lighting complete the transformation, making this journey both sonically and visually unforgettable. I am deeply grateful to the entire creative, production, stage management and administrative team whose dedication helped bring my vision to life. It has been a true joy to build this world together. Thank you for trusting me. And to you, our audience—thank you for joining us as we bring the Monkey King's world to life once more, in a way that speaks to the world we live in now.”
–William Yong
Director William Yong 楊漢源
Photography: Lucia Remedios.
William Yong is a multi-faceted artist and an award-winning choreographer, performer and director for dance, theatre and film. Artistic Director of Zata Omm and W Zento Productions, William has dedicated over two decades to breaking new ground by collaborating with artists, scientists, and engineers in visionary, technology-driven performance projects. William’s artistic journey began with music as a member of the Hong Kong Children’s Choir and as the lead singer and songwriter for the band Fundamental in Asia. Trained at the Hong Kong Academy for Performing Arts and London Contemporary Dance School in UK. He worked with some of the world’s most influential choreographers including Wayne McGregor and Matthew Bourne. His passion for the arts expanded into an illustrious 30-year career. William has created over 150 acclaimed dance, theatre and film works. In 2024, he became the first Asian choreographer commissioned by the National Ballet of Canada for UtopiVerse, performed at Toronto’s prestigious Four Seasons Centre for the Performing Arts.
More from Fête Chiniose
In the rarefied realm of Canadian dance, few artists have forged as unconventional and boundary-obliterating a path as William Yong. The award-winning Chinese-Canadian choreographer and multimedia artist, who immigrated from Hong Kong to Toronto in the 1990s to reunite with his family after a decade in London, has melded his multicultural roots with an unbridled creative spirit, pioneering daringly innovative, interdisciplinary works that shatter artistic conventions. From his early experimental films and productions merging dance with technology to touring the world as an in-demand performer, Yong has continually pushed the limits of dance expression.