Jiang plays Han Meimei, a no-nonsense class president whose biggest headache is the class rebel, Li Lei. It has a neat structure of two timelines running in parallel, one set on the eve of the millennium and the other a decade later, crosscutting into a web of contrast between aspirations and reality.
Jiang is something of a Shirley Temple. She grew up singing and acting on TV. After graduating from Manchester University, she hosted TV shows on CCTV's movie channel. But her versatility comes across in her stage appearances.
In A Midsummer Night's Dream, she played Helena with perfect comic timing, which is a world away from Han Meimei's loneliness, hidden behind a serious facade.
It is the rule more than an exception that performing talents take the stage. You can regularly spot big movie and TV stars give full play to their acting chops in the theater. China's theater scene could be one of the best-kept secrets, with its wide spectrum of offerings and rather limited media exposure.
Li Lei and Han Meimei is just one of a dozen plays I have seen on the subject of the post-80s, and created by the same generation. They invariably tell of the angst and ambitions of youth, but in a language and style uniquely their own.
It may come as a surprise then, that the National Center for the Performing Arts, the nation's 2-year-old national theater, did not dip into contemporary repertory for its latest productions. Instead, it picked Jane Eyre, a literary classic, for stage adaptation.
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