The Canadian Children’s Opera Company is presenting the original opera The Monkiest King, originally developed as part of the CCOC’s 50th anniversary in 2017.
The new production features more than 100 young voices between the ages of seven and 19, along with the lyrical and theatrical music of Alice Ho, and libretto by Marjorie Chan. The original Canadian children’s opera takes the stage at Harbourfront Centre from May 30 to June 1.
The Monkiest King premiere was beloved by audiences and critics alike, and was nominated for two Dora Awards. In 2020, the official recording of the opera was released. You can listen to it here.
The 2025 production is a reimagination.
The Legend of the Monkey King
Monkey King, or Sun Wukong, is a figure who comes from a book titled Journey to the West. It was published in China in the 16th century during the Ming Dynasty.
In the story, the Monkey King travels with a monk called Xuan Zang, protecting him on their journey to India. Zang’s goal is to bring Buddhist holy books back to China.
The Monkey King is clever, mischievous, and endowed with special powers, like the 72 Earthly Transformations, which he can use to change himself into animals and things. He uses his various talents, and learns, along the way.
Many scholars believe that the legend dates even farther back, and may be influenced by the Hindu story of the monkey god Hanuman, or even older legends of magical monkeys.
A scene from the original production of The Monkiest King (composer Alice Ho and librettist Marjorie Chan); Emily Cheung, choreographer; Yu Han, dancer; Cathy Ord, videographer:
The Opera
The opera is a celebration of cultural diversity, using the centuries old story of The Monkey King with a modern twist. It presents themes that include the power of transformation, and a sense of discovery.
It’s also a celebration and showcase of the beauty of young voices.
The Monkiest King, Sun Wukong, is a mischievous soul, and he sets out on adventures that lead him to cross paths with the Jade Emperor and the Goddess of Mercy, among other characters. Along the way, he learns about compassion, humility, and wisdom. He goes from a playful character to one who is prepared to act with a selfless sense of heroism.
For 2025, the production has been reimagined by director William Yong.
William Yong
Currently, William Yong is the artistic director and founder of Toronto-based Zata Omm (Zen And The Actualization Of Modern Movement), and W Zento Production.
For almost two decades, he’s collaborated with artists, scientists and engineers in a variety of disciplines. Under his tenure, Zata Omm has focused on bringing dance and technology together with contemporary culture. What does performance look like in the era of technology? He’s choreographed a number of works for the company, including shorter and full-length productions. W Zento is a film and video production house specializing in the short film industry.
Yong trained at the Hong Kong Academy for Performing Arts as a singer, and was a member of the Hong Kong Children’s Choir, touring with the latter to festivals and concerts. After making the switch to dance, he studied at the London Contemporary Dance School, and Netherlands Dance School, finishing his Master’s degree at the University of Kent in the UK.
He’s danced and sung on stages in more than 75 countries over his professional performing career, and presented his first work as a choreographer in Germany in 1993.
Yong has since created more than 150 pieces, and his dance works have been performed as part of Toronto’s Danceworks, Harbourfront World Stage and NextSteps series, and by multiple companies across Ontario and Quebec. In 2024, he became the first Asian choreographer commissioned by the National Ballet of Canada to create an original mainstage work.
Yong’s frequent collaborators have added their input, including costume and props designer Lisa Mann (How To Sell Drugs Online), and Dora Award nominated lighting designer Noah Feaver.
Performances
CCOC’s Music Director Teri Dunn conducts the choir, along with a 10-piece chamber orchestra of professional musicians: Patty Chan, Wendy Zhou, Sanya Eng, Lina Cao, Hoi Tong Keung, Douglas Miller, and members of the Penderecki String Quartet. The score calls for both Western and Chinese instruments, including the erhu, guzheng, pipa, and dizi.
As Executive Director Katherine Semcesen says in a statement, “At the Canadian Children’s Opera Company, we believe young people are not only the future of opera — they are its present. Time and time again, our singers demonstrate that under the care and guidance of incredible artists, young people are capable of extraordinary artistry.
“Through opera, they deepen their understanding of themselves and the world around them — discovering empathy, resilience, and the power of creative expression.”
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