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As one online-forum poster summed up, Fei Xiang “had China, failed Broadway.”ĭespite the dispiriting evidence, one wonders at the fairness of this assessment to a man who freely declared that he “didn’t even know how to sing” at the height of his stardom. One could hear sighs lamenting the meandering path of an aging has-been.
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In recent years, he has been spotted only sporadically: in a telecast gala commemorating the Hong Kong handover performing the works of Andrew Lloyd Webber four years later and in 2005, as part of an Asia comeback tour performing Broadway classics sung in Mandarin. In 1990, Phillips made his début in, fittingly, “Miss Saigon.” For a vocalist who had bested Pearl Jam, Celine Dion, and Whitney Houston in record sales, his chorus roles went unremarked. A young man, upon attending one of his concerts, commented with a note of sourness (perhaps in appraisal of his own romantic prospects) that “to Chinese women he’s the picture-perfect prince riding up on a white horse.” And then, just as suddenly as he rode into their lives and land, Phillips was off again-this time, to New York. No doubt, the best of the West-with Chinese characteristics. Following their heavy brocaded costumes and paint-saturated faces, the handsome star was just a svelte swivel away from Michael Jackson, but with the earnest, brimming eyes of John Lennon-and he also happened to croon in mellifluously flawless Mandarin.
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In the next two years, Fei would make five albums, deliver sixty-three sold-out solo concerts in one tour, and sell more cassette tapes than any singer in Chinese history.īefore Fei, the Spring Festival Gala was accustomed to hosting conservative acts along the lines of dragon dance, folk songs, and the Beijing opera. At a time when Taiwan was denied acknowledgement and America was still largely the model of “ capitalistic roader,” a face and voice that so embodied both places had managed to cross the strait and perform, to deafening applause, on a state-sanctioned platform. In retrospect, it’s hard to imagine a more unlikely star. After pecking his maternal grandmother on the cheek, a gesture as familiar to Americans as it must have been alien to his live, primly seated Chinese audience, the Stanford-educated twenty-six-year-old, in accentless Mandarin, heartily embraced the communist mainland as his longed-for motherland. The performance that anointed him as the King of Pop in China, which he later referred to as “the show (that) established everything overnight,” was delivered in a shiny red single-breasted tux. Kris Phillips, as he is known by his given English name, is only half Chinese, born in Taiwan to a Chinese mother and American father. “The most handsome Chinese man I’ve ever seen,” my thirty-six-year-old mother exclaimed at the time.
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Fei stood a statuesque six foot three, and had chiseled features, a voluminous pompadour, and miraculous gray-blue eyes. But Fei Xiang, who soon became the Gala’s main attraction, was no mere Rockette. The stage was the Spring Festival Gala, a nationally broadcast variety show that makes the Radio City Christmas Spectacular look homespun. In 1987, a young man walked onto a vast, lantern-festooned stage and, in less than three minutes, won the hearts of a billion.