This March, Beijing's audiences flocked to the theater, eager to witness a performance that has enchanted generations.

Since its premiere in 1958, Lao She's Teahouse, brought to life by the Beijing People's Art Theatre under the meticulous guidance of directors Jiao Juyin and Xia Chun, has held a mirror to nearly half a century of China's social transformations. Yet, beyond its historical narrative, it is the dedication of the theater's actors — both veteran and young — that keeps this masterpiece alive.

The theater has long upheld a near-sacred tradition: once a production takes root, the core cast, stage design and performance style remain steadfast. This disciplined continuity ensures that each audience experiences the authenticity of old Beijing.

"Our goal is for the audience to feel the original spirit of the teahouse — without distortion, without modern embellishments," said actor Yang Lixin, who is also the restaging director of Teahouse.

For decades, actors like Liang Guanhua, Pu Cunxin and He Bing have embodied iconic characters with unwavering commitment. Liang, who has portrayed the second-generation Wang Lifa since 1999, meticulously records every performance in a personal log, reflecting on decades of insight and subtle refinement. Pu, now the chairman of the China Theatre Association, treats each staging as a fresh ascent, approaching every show with the immediacy of a first encounter with the audience.

Yet, the theater's leadership recognized that classical theater could not survive without thoughtful succession. To pass the torch to the younger generation, the Beijing People's Art Theatre revived its actor training programs in 2019 after a 30-year hiatus. The new cohort underwent rigorous instruction, including one-on-one mentorship, master classes, and immersion in real-life experiences.

"The challenge for young actors is not merely to imitate, but to understand and inhabit the essence of these roles," Pu said."They must bring their own vitality and sensitivity, while honoring the rhythm, nuance and humanity of the characters."

Through this blend of tradition and innovation, the theater's younger performers stepped into secondary roles, learning the discipline, empathy, and interpretive depth that defined the institution. Actor Yang Mingxin described rehearsals as a living classroom where stage veterans, directors, and designers collaborated to create an environment of learning by observation and practice.

Today's theater-goers, especially younger ones, judge performances on merit rather than resemblance to legendary predecessors. This shift gave emerging actors room to explore and contribute their unique voices to the continuum of Chinese theater.

According to Feng Yuanzheng, a veteran actor, director and president of Beijing People's Art Theatre, the most urgent issue facing the theater is how to enable young actors to take the reins as soon as possible. In recent years, the theater has been actively exploring actor training and has boldly involved young actors in the creation of new productions.

In this interplay between old and new, the Beijing People's Art Theatre demonstrates the delicate art of cultural stewardship: honoring the past while empowering the next generation.

Feng said the current challenge is how to encourage today's young playwrights — or young people who enjoy creating — to develop works with contemporary significance.

In 2024, the theater held a director-playwright training program and one of the biggest challenges for young participants was committing themselves fully, Feng said.

"It is very difficult for a young person to spend three years completing a script; even half a year feels long to them," he said. Feng added that, for actors, the most persuasive way to win audience acceptance is through fully realized characters. And for a theater, the most effective way to gain audience recognition is through the quality of its productions.