If the intention is to enthuse, entertain and enthrall with view to building cultural appreciation and human bridges, it is of course necessary to make it easier for the dense western philistines to first understand what is being performed in the great Chinese operas which precede copycat spinoffs such as the kabuki, especially when even Kissinger once lamented that the three-hour performance his troupe had to sit through was so boring it appeared the climax was the heroine finally got to marry the combined harvester in the end.
After so many years, one's ears are still ringing from the shrill operatics of the great Hefei opera courtesy of CCTV in one hotel room afternoon somewhere in Beijing hongqiao.
The deep question is whether adapting the great Chinese operas which are a visual feast for the fast-track appreciation of cro-magnons would dilute the original essence of Chinese cultural genius.
Try and see with some of the 368 versions of Chinese operas. If it works, use the higher gate fees to fund more 21st century versions of those from about two centuries ago. Who knows, we may discover that even the englander's Shakespeare and Marlowe had been predated by some of the finest classical Chinese opera playwriters of all times. Value your life by not disagreeing with me now.
And you may need to build those bridges faster. Knowing now the original link between the Native Americans of North America and the Chinese natives of China, one cannot be too sanguine more mischief won't be dished onto the Chinese in the same way the Native Americans were marginalized and massacred by those who had decanted at Boston from british-european shores. Shall one have to take comfort in what the egyptian Imhotep had once said before a desert storm came onto the entrance of the Cheops? "Death is only the beginning".