It all began in the spring of 2013, when five women stood together in Montgomery County, Maryland, united by a single dream—to bring the beauty of Beijing Opera to audiences far from its birthplace. They named their endeavor DC Beauty of Beijing Opera, aka DCBBO, or Beijing Opera Bloom literally in Chinese language, hopeful that like a flower, it would take root, grow, and flourish.

What they didn’t know then was just how much the journey would demand of them. Over twelve years, they would stage more than 230 performances and workshops, stepping onto makeshift stages in school gymnasiums, public libraries, and senior centers. They would spend long hours adjusting embroidered costumes, fastening ornate headdresses, and perfecting the graceful, deliberate movements that define this ancient theatrical art from China. Most of all, they would meet people—hundreds, thousands of them—each bringing a new story, a fresh perspective, and sometimes, an unexpected moment of magic.

A Stage in Every Corner

The United States of America is a land of endless stories, where cultures from every part of the world find a place to call home. But while music and dance often cross language barriers with ease, Beijing Opera—so stylized, so rich in symbolism—requires time, patience, and a willingness to discover something unfamiliar. That is exactly what made every performance so special.

At an elementary school, a little girl with bouncing curls stood on tiptoe to peer at the costume rack, eyes wide with curiosity. When she tried on a phoenix crown that was far too big, she let out a delighted squeal, laughing as she struggled to balance under its weight. “I feel like a queen!” she giggled, twirling on the spot.

In a senior living center, an elderly man with silver-white hair reached out a trembling hand, brushing the edge of an embroidered sleeve. “This,” he murmured, “this is art.” Around him, other seniors—some in wheelchairs, others leaning forward in quiet fascination—watched the performance with the wonder of children seeing something for the very first time. “How heavy is that headpiece?” one woman asked. “Do you ever trip in those shoes?” another chuckled. For many, it was a rare chance to experience the mystery of an art form they had only read about in books.

And in a public library one afternoon, an audience member leaned in, studying the precise movements of a performer’s hands. “How do your fingers even bend like that?” he marveled. Then, after a few attempts at mimicking the stylized steps of a dan role, he shook his head and laughed. “I think I look more like a penguin than a graceful lady!”

The Faces in the Crowd

Not every audience understood Beijing Opera at first. Some approached it with curiosity, others with skepticism. At corporate events and government offices, business professionals sat in neat rows, watching intently, their expressions serious as they absorbed an art form so different from anything they had seen before. Then came the questions—careful, thoughtful ones. “Why are the voices so high-pitched?” “What do the colors on the masks mean?” “How long does it take to master this?”

For overseas Chinese audiences, the experience was often emotional. Some sat quietly, eyes glistening as they listened to the familiar melodies of their childhood. For them, Beijing Opera was not just a performance—it was a bridge to home, a reminder of the place and traditions they had left behind. “Hearing this again,” one man whispered after a show, “is like hearing my mother tongue.”

Through it all, there was kindness. Encouragement. People who stayed after performances just to say thank you. Others who supported DC Beauty of Beijing Opera not only with words but with generosity, ensuring that the organization could continue its mission. And of course, there were the institutions that believed in them—the Montgomery County Government, the Arts & Humanities Council of Montgomery County, and the Maryland State Arts Council—offering funding year after year to help this cultural bridge remain strong.

A Future in Full Bloom

Twelve years have left their mark—not just on the five core members, who now carry the gentle lines of time on their faces, but on DC Beauty of Beijing Opera itself, which has grown into something far greater than they once imagined. Today, the five core DCBBO members, namely Louisa Huang, Sarah Xie, Mei Wang, Cynthia Yung and Yan Brendal, are no longer just performers; they are mentors, opening the stage to a younger generation eager to carry on the tradition.

And so, the journey continues. The costumes are still carefully unpacked before every performance. The silk sleeves still flutter as they move. And in the audience, whether in a school, a library, or a government hall, there is always someone seeing Beijing Opera for the very first time—eyes wide with wonder, a spark of curiosity flickering to life.

That, more than anything, is why DC Beauty of Beijing Opera, aka Beijing Opera Bloom, will keep going. Because as long as there are people willing to watch, listen, and ask questions, there will always be new stories to tell, new moments to cherish, and new flowers waiting to bloom.