years, was ready to quit stage performance entirely especially after some surgeries in 1950s. That is, make or break, time for last call. Tang only worked with those he found worthwhile to spend time and effort on. For example, good vocalist Tam Lan Hing (譚蘭卿), whose physique was same as the first Mrs. Tang, was never on Tang's radar. At this stage, Tang immersed himself in work to create "the perfect (smart, beautiful, educated,...) female lead for the male lead to dive head first for" roles for only his favorite few actresses. Audience was led to admire, respect, love, .., pity, feel sorry for the noble/honorable female characters he wrote. What's leftover for the male lead to make do with gave them very few "roles of a lifetime". In 1990, one columnist wondered why ladies in the audience would be hooked to the male lead character and eventually also to the performer personally. Influenced by Cheng Meng-har Born to a Chinese father and a Japanese mother, Cheng Meng-har was an accomplished Chinese opera performer (in Shanghai, China) long before Tang started diving into some of his most famous career choices. A ‘’in Cantonese’’ only radio show had a complete account of Tang's life and work, from birth to death. Other than personal hygiene (taking a bath or not), lifestyle and family, major contributions in several aspects the second Mrs. Tang made are:- Generally Scripts before 1954 Stage craft in the form of Patterned Performance Segments (排場). (That is, the essential training for performers when only the plots were provided. Well-established before complete scripts were ever written for performers.) since 1954 Intellectual appeal improved More sophisticated, less slapstick Drawn from Chinese classics and poetry that they found in junk yards Contacts Instead of travelling like Hung and Sit had to, Cantonese opera performers were introduced to assorted Chinese opera performers in Hong Kong by Cheng. Ma Lianliang was in Hong Kong briefly and met with Lang Chi Bak who talked about the occasion in 1986 on radio. Others, particularly those Mei Lanfang related, stayed behind and were fully engaged for decades as tutors and mentors. Costume Hand-embroidered (Su Xiu, Suzhou embroidery crafted in areas around Suzhou, Jiangsu Province) instead of shimmering Sequin Title specific Mistake at the Flower Festival Beijing-style acrobatics in shoe-making scene The Reincarnation of a Beauty Ghost-walking acrobatics (rigor mortis state of human body projected) after breaking out