History and fiction collide onstage

Their paths most probably never crossed in life.

An Italian Jesuit intent on opening China to the wider world; a Ming Dynasty (1368-1644) playwright who imagined love enduring beyond death; a pirate queen who commanded a fleet rivaling navies; and a young scholar who would become the first Chinese graduate of an American university.

Yet on a balmy evening earlier this month, these figures — Alessandro Valignano, Tang Xianzu, Zheng Yi Sao and Yung Wing — appeared together onstage along the edge of Nam Van Lake in Macao.

They were joined by two more figures who further blurred the boundaries of history and imagination: the Italian missionary Matteo Ricci and Du Liniang, the defiant heroine of The Peony Pavilion, who pursues love with a resolve that transcends death.

Brought together across time, space and even fiction, the six characters met in Letters Through Time — an original musical comedy and one of the flagship programs of the 3rd Macao International Comedy Festival. The production follows a post office worker who magically encounters these historical and fictional figures while sorting centuries-old letters, weaving their stories into a shared narrative.

For the cast, the experience is as demanding as it is unusual. Tom Fenton, a British actor who played Valignano — the role rotated among different performers for day and evening shows — told China Daily that the part required weeks of rehearsal, but he found himself relating to the character, whom he described as someone who "came across a lot of cultural misunderstandings".

That sense of cultural encounter is rooted in history. As a key figure in the spread of Catholicism in China, Valignano arrived in Macao in 1578 and established St. Paul's College to train missionaries in local languages and cultures. He later mentored Ricci, who entered Beijing's Forbidden City in 1601 and became a crucial bridge between China and the West.

The production's format further reinforces this idea of exchange. Unlike a conventional stage play, Letters Through Time requires constant interaction with the audience, pushing actors to respond quickly and improvise. The evening performance on April 11 drew high-profile attendees, including Michelle Yeoh — the first Asian to win an Oscar for Best Actress — as well as comedians Shen Teng, Ma Li, Ai Lun and Chang Yuan.

Fenton called Shen his favorite Chinese actor. "I've always wanted to act with Shen. This time, I kind of half-acted with him — he was in the audience, and I'm very happy about that. I think this is an impressive festival. They are bringing the top actors in China, and it's great to see Chinese comedy taking off on the world stage.

"Comedy is quite an international thing," he added. "People recognize awkwardness — which I use a lot in my work. We all want the same stuff: to make money, to find love. Comedies revolve around that."

Beyond its playful premise, the production also carries contemporary resonance. Codirectors Liu Jinhuayu and Gao Ruijia say the characters were chosen not only for their connections to Macao, but also for their shared experiences of hardship and resilience — qualities that continue to speak to audiences today.

This modern perspective is especially evident in its portrayal of female characters. Du Liniang, long defined by her devotion to love, is reimagined as a woman seeking selfhood. Meanwhile, Zheng Yi Sao — who rose from a humble backdrop to become the ruler of the most powerful pirate fleet during the Qing Dynasty (1644-1911) — dominates the stage with formidable power.

Such reinterpretations echo broader conversations within the festival. At a forum held on the same day, industry figures discussed the rise of women-centered comedies and the shift away from stereotypical portrayals.

Chen Luyu, a well-known TV host, says female characters in today's comedy landscape are increasingly breaking away from convention. "It is no longer limited to exaggerated self-mockery or deliberately looking 'ugly'. Female characters can now be authentic, sensual and multilayered, using humor to deconstruct anxiety and counter prejudice, turning private struggles into public conversations and opening up more avenues for female expression," she says.

Actress Ma Li, who rose to fame with the 2015 comedy Goodbye Mr Loser, reflects on her own journey. Early in her cinematic career, she says, she was frequently offered exaggerated roles that made her uncomfortable. "I always felt quite bitter about that. I wanted to prove to everyone that I could play all kinds of characters," she recalls.

A similar sentiment is shared by Hong Kong actress Michelle Wai. Before starring in The Last Dance — which won her Best Actress at the 43rd Hong Kong Film Awards — the 41-year-old actress says she often doubted herself after being cast in stereotypical roles. "Now I've learned to accept and love myself, and to put that first," she adds.

For Chen, the shift reflects a broader change in mindset. She encourages female creators to embrace their experiences — including setbacks — as part of their creative strength. Only by doing so, she says, can they move beyond limitations and find new possibilities in artistic creation.

Michelle Yeoh, famous for comedy blockbusters Everything Everywhere All at Once (2022) and Crazy Rich Asians (2018), says she has always paid attention to the development of Chinese-language comedies. As the artistic genre that is best at conveying warmth and strength, Yeoh says she believes comedy can resonate with a wide audience beyond languages and borders.