Kang Wang as the Monkey King (Sun Wukong) with members of the San Francisco Opera Chorus in Huang Ruo and David Henry Hwang's "The Monkey King." Photo: Cory Weaver/San Francisco Opera
A self-proclaimed immortal and very handsome monkey sits trapped in a stone cave, lamenting his past misdeeds. Above him, the Goddess of Mercy floats in serene splendor. What happens when a monkey is granted immortality?
In this case, he will swim to the oceans, fly to the heavens, eat some sacred fruit, and provoke a whole lot of gods. Any way you look at it, it is going to be a good time. The Monkey King premiered on the stage of the War Memorial Opera House last Friday, and it may be the most visually striking work to land on a Bay Area stage in years.
Konu Kim as Jade Emperor (center) with members of the San Francisco Opera Chorus in Huang Ruo and David Henry Hwang's "The Monkey King. Photo: Cory Weaver/San Francisco Opera
Composed by Huang Ruo with an English and Mandarin libretto by David Henry Huang and commissioned by San Francisco Opera, the work takes inspiration from the first part of the Ming Dynasty novel Journey to the West. Huang’s gives us a main character who is equal parts braggart, trickster, spiritual being, and plain naughty monkey.
The sacred and profane travel the same path as the Monkey King disrupts heaven and earth with his ego and his plea to be seen as more than an ignorant animal. Just as he reaches peace and spiritual clarity in what is perhaps the opera’s most beautiful music, he decides to urinate to mark the moment. Huang's storytelling pulls us forward at a quirky pace that feels like true artistry.
Basil Twist's stage designs use yards of luxurious textiles to define and animate each scene, with puppetry woven throughout. Otherworldly costumes by Anita Yavich tantalize the eye, and the genius lighting of Ayumu “Poe” Saegusa seems to transport the audience to the heavens and beyond. The cast is equally remarkable. Director Diane Paulus's use of Ann Yee's choreography, guided by Peking Opera consultant Jamie Guan, blended martial arts with operatic gesture in a way that felt both fresh and rooted in tradition.
Kang Wang as the title role in Huang Ruo and David Henry Hwang's "The Monkey King." Photo: Cory Weaver/San Francisco Opera
Tenor Kang Wang commanded with his voice and quick, clever movement, shape-shifting between monkey and human. Triplicated with a dancer double and a puppet, he remained the delightful center of this fantastical world. Mei Gui Zhang, as a radiant Guanyin, the Bodhisattva of Mercy, watches over the monkey and sings in defense of all living things. Baritone Jusung Gabriel Park, as a floating Buddha, embodied a loving yet firm patriarch of Buddha's earthly manifestation, Subhuti. His voice carries the lesson the Monkey resists on his journey, “Power alone is not enough.” Carolyn Kuan conducted with precision and skill, tying the music into a unified whole.
Jusung Gabriel Park as Master Subhuti and Kang Wang as the title role in Huang Ruo and David Henry Hwang's "The Monkey King." Photo: Cory Weaver/San Francisco Opera
The Monkey King is the kind of production that arrives rarely, so enchanting that it feels like holding starlight in your hands. Tickets are moving fast, and this show will most definitely sell out.
The Monkey King runs until November 30 at The San Francisco Opera.
*Update 11/20/25
All performances are sold out, but you can call the Box Office for availability. They offer Standing Room tickets in the rear Orchestra or the rear Balcony to most mainstage opera performances.
Tickets are $10 each and they are cash only. Standing Room tickets go on sale the day of each performance and are limited to two per person. They sell the first 150 tickets starting at 10 am and hold the last 50 for sale two hours prior to the performance.
SF OPERA Box Office
415-864-3330
Box Office hours:
Mon: 10am–5pm
Tue-Sat: 10am–6pm
Performance days: 10am through first intermission
For more info, visit their website
