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| Wencheng Controversy Grows as Zhou Dongyu Accused of Reading Script Throughout Performance. (Credits: HK 01) |
Zhou Dongyu's highly anticipated theatre debut has turned into one of Chinese entertainment's biggest talking points this week, after audience members at the opening performance of Wencheng accused the award-winning actress of relying heavily on teleprompters and scripts throughout the show. What was expected to be a prestigious moment for one of China's most celebrated film stars instead sparked a fierce online debate, a flood of complaints and growing calls for ticket refunds.
The stage adaptation of Yu Hua's acclaimed novel Wencheng opened the 2026 Aranya Theatre Festival on 17 June with considerable expectations attached. Starring Zhou Dongyu, Duan Yihong and directed by Chen Minghao, the production carried premium ticket prices ranging from 500 yuan to as much as 1500 yuan through secondary channels.
For many attendees, those prices came with an expectation of polished performances and theatrical excellence. Instead, social media quickly filled with criticism from audience members who claimed the production resembled an early rehearsal more than a fully realised public performance.
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Numerous attendees alleged that Zhou Dongyu spent much of the show looking towards teleprompters before later reading directly from a printed script. Several viewers also reported missed lines, dialogue mistakes and moments where performers appeared to break character.
One moment in particular became a focal point of discussion online. Audience members claimed Zhou Dongyu reacted openly after delivering an incorrect line, drawing attention to the mistake rather than seamlessly continuing.
Critics argued that such moments disrupted immersion and left viewers questioning the level of preparation behind a production that had been marketed as a major theatrical event.
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The criticism was not directed solely at Zhou Dongyu. According to multiple audience accounts, Chen Minghao and Duan Yihong were also seen reading from scripts during portions of the performance.
Some theatre-goers estimated dozens of visible errors occurred throughout the evening, describing the overall presentation as chaotic and unfinished.
That reaction proved particularly intense because of Zhou Dongyu's reputation. The actress is widely regarded as one of the most accomplished performers of her generation, having achieved the rare distinction of becoming China's youngest "Three Golden Awards" winner through success at the Golden Rooster Awards, Hong Kong Film Awards and Golden Horse Awards.
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| Wencheng Premiere Backfires as Zhou Dongyu Faces Criticism Over Teleprompter Reliance |
Many fans expected her transition from film to theatre to demonstrate the same level of craft that made her a leading figure in Chinese cinema.
Some frustrated viewers questioned whether audiences had effectively paid premium prices to watch a rehearsal. They argued that memorising dialogue remains one of the most fundamental aspects of stage performance.
One recurring criticism suggested the issue was less about ability and more about professionalism, with some commentators claiming audiences deserved greater respect given the cost of admission.
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The controversy grew further when director Chen Minghao explained that the production belonged to the experimental theatre tradition and that actors had not been required to memorise every line.
According to the director, the use of scripts formed part of the intended artistic approach rather than a sign of inadequate preparation. That explanation, however, did little to calm criticism.
Many theatre enthusiasts responded by arguing that experimental theatre and preparation are not mutually exclusive concepts.
Several experienced theatre-goers noted online that they had attended numerous avant-garde productions over the years without encountering performers who appeared overly dependent on scripts. For these critics, the debate was not about artistic innovation but about execution.
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Not everyone joined the backlash. A smaller group of viewers defended the production's creative ambitions and praised elements of its staging.
Supporters highlighted the large-scale visual design, machinery used during the performance and the production's attempt to reinterpret Yu Hua's novel in a more unconventional theatrical format. Some argued that the show's artistic ideas were being overshadowed by discussion surrounding dialogue delivery.
Adding another twist to the story, reports from the following day's performance suggested noticeable improvements. Audience members attending the 18 June show claimed the cast appeared significantly more confident with their dialogue and that the overall performance flowed more naturally. The rapid improvement prompted some online users to joke that harsh reviews may have delivered the fastest acting notes in theatre history.
As of now, Zhou Dongyu has not publicly addressed the controversy. Yet the debate shows little sign of disappearing. What do you think? Was the backlash justified, or are audiences being too harsh on an experimental theatre production?