Liza Wang Ming-chuen
Veteran actress and Cantonese opera performer Liza “Big Sister” Wang Ming-chuen is the chair of the Chinese Artists Association of Hong Kong and a member of the Chinese People’s Political Consultative Conference. She tells Yannie Chan about playing female bosses, her “weak voice” and her political career.
I was born in Shanghai. My father had come to Hong Kong to work first. My mother, sister, brother and I followed.
I came from rural Shanghai. I was really a village girl who knew nothing. I was raised by my grandparents before I came to Hong Kong. Not only was I in a strange new environment, but I also had to live with my family, who were basically strangers to me.
They were supposed to be my family, and yet they felt distant to me. I wondered all the time if my parents sent me to my grandparents because they didn’t like me.
I told myself that I had to be successful so they would like me.
Rediffusion Television [now ATV] was recruiting and I was accepted. More than 1,000 other people were accepted into the training class as well. Only nine people would secure a contract in the end. I was one of them.
My face looked best in period dramas, so at first I mostly did Huangmei and Shanghai opera.
I became very popular from the start. In those days, there were many contests for the 10 best actors and actresses, and I always topped those lists.
I do not see it as an accomplishment. I did my best to build a solid foundation, but the rest depended on the audience. Some people are just disliked by the viewers.
Getting rich was never on my mind. There used to be no China market back then. There was not a lot of money.
My parents were OK with me doing television dramas, but they warned me against going into movies. People associated the film industry with sleeping around and concubines.
Television was basically like an office job.
Even back in those days, once the television drama aired, people jumped to criticize. It would be all over the radio and newspapers the following day.
People complained about my “weak voice.” But I’ve recorded so many albums!
You have to believe in your own charisma. You have to be confident.
Some people wait 10 years for a great role. Me? I was really lucky. I’ve had many, many amazing roles in every stage of my life.
My biggest worry is repetition. Once you reach a certain age, you always play a mother. In recent years, I have always played the tough woman boss. I do not really like it.
Of course any woman at this age would be angry at her children, her husband and her employees. It’s boring!
In 1988, I was elected as a delegate in the National People’s Congress. The committee talked a lot about mainland affairs. I knew nothing about China. I felt useless—I did not raise thoughtful enough questions. I felt like a voting machine.
I learned slowly by attending meetings and reading books and documents.
I ran in the provisional Legislative Council elections in 1996, but I think I overestimated my ability. I am not cut out for politics.
At first when I was an NPC delegate, people avoided talking about Hong Kong during meetings. But after the handover, my role shifted.
Many things in Hong Kong are now related to the mainland. As a member of the Chinese People’s Political Consultative Conference, I feel that I have a bigger role to play.
Our focus has been on Occupy lately. At home, I only watch the news channel and nothing else.
It is a great thing for people in Hong Kong to express their opinions. I agree that if you’re dissatisfied, you should stand up and fight for a better deal.
The problem is the Basic Law has set a clear guideline on political reform. We have to follow the system, unless you are saying you do not want the system.
It’s not about whether I like or dislike China—I am Chinese. It’s that simple. As Chinese people, we should help the country to develop.
Oh, there are so many things China needs to work on. Too many. The quality of its people and almost everything else.
Cantonese opera is an incredible art form. It comprises singing, elegant scripts, costumes, makeup, kung fu, dozens of musical instruments, Chinese history and ethics.
As chair of the Chinese Artists Association, I understand what’s special about the Cantonese opera industry, as well as its issues. I spent the past decade fighting for the Yau Ma Tei Theatre, the Xiqu Centre in the West Kowloon Cultural District and Ko Shan Theatre.
People ask me all the time when I will retire. In every interview, they ask if this is my last project. I am still looking for a great role so I can end my career perfectly.
Every time I return to Hong Kong, I feel safe, especially if I’m coming back from the mainland.
See Liza Wang and Ivy Ling Po perform in “Liza Wang & Hong Kong Chinese Orchestra Valentine’s Day-Chinese Lantern Festival Concert” on Feb 13-14 and Mar 6-7. $150-400 from www.urbtix.hk.
