for luck and fortune instead of blue or white (both mostly represent sad occasions in Chinese culture) Only one among these five in which the male lead was front and center First among these five to achieve recognition in terms of box-office and profitability Saving grace for the female lead and her otherwise never existed career Script (Act I in particular) was weak Came back 28 years later in November 1985 with the male lead character portrayed on stage again (the audience really liked the production, total 28 sold-out performances) Di Nü Hua (1957) The Purple Hairpin (1957) (see Tang Xianzu) At the night of tenth full house, Tang wrote how uneasy he felt.「紫釵記連滿十晚 心神反惴惴不安 再臨隋智永千字文真書一過以養性怡情 而下筆常有仿佛之感 固知氣燥性浮 尚須勤於修養也滌生識」 At the night of 14th full house, Tang wrote how he was not himself.「紫釵記已脫稿今演至第十四晚仍能滿座 但心神欠佳 惴惴然不知所因 臨米海嶽跋河南 摹蘭亭絹本真跡 亦有手不從心之感 誠為孫過庭書譜有言意 違勢屈焉能稱意也」 On air for the 50th anniversary of Tang's passing, Lau Tin Chi (劉天賜) commented in 2009 how "unreasonably grumpy, ill-tempered ()" the debut female lead had been in this character to him. The Reincarnation of a Beauty (1959) At the night of Ng Cho-fandebut, Tang collapsed and died later in hospital. Tang was under undue stress, against medical advice, while demand was high and non-stop. His hands were forced by the debut female lead who booked Lee Theatre without Tang's agreement to have this title ready. According to Cheng Meng-har, Tang wanted to quit as a Cantonese opera playwright. Many sudden deaths () related to this title have been reported throughout the six decades since debut. Troupe manager, Xu See (), Hong Kong, 1979 (brother of Cantonese opera playwright Xu Ruodai, author of Dream of Red Chamber throughout the 1940s in Macau) Composer, Chu Ngai Kong (), Singapore, 23 June 1981 Yam (in 1968) and then Loong (since 1972) took these four titles along with many other titles of Tang all around the world, including Vietnam (1972) and Las Vegas (1982). However, their reputation as iconic started in mid-1970s. In those years since the 1970 grinding halt, Cantonese film productions in Hong Kong were few and far between. Loong and classmates were limited by design to play characters in these four only and none others, in order to boost the status of these titles of teachers. (This is very common among Yam's generation of performers. Those grew up in the 1960s in Hong Kong keep this running in full force