Since the early twentieth century, Hong Kong has always been an important venue for Cantonese opera development. After 1949, as a result of political turmoil in the Mainland, performers and troupes converged and resettled in the territory, leading to a tremendous prospering of Cantonese opera in the subsequent decade. This development is linked intimately with the rise of the electronic media.
Performers and troupes began to grasp the possibilities offered by film and radio to re-examine age-old performance practices with regard to acting, singing, script writing, instrumentation, and stage set-up. They brought in novel elements from the theatre and movie world, and participated in the production of films and records. With these acts, they are extending the movement to modernize Cantonese opera that began in the 1930s.
Wong Jum-sum was thoroughly immersed in the world of Cantonese opera from young. Through his close encounter with master performers like Hung Sin-nui, Ma Si-tsang, Yam Kim-fai, Pak Suet-sin and Tong Dik-sang, he witnessed first hand the modernization of Cantonese opera, and was mightily moved by the adventure and passion he saw.
Composer: Paul Anka
Lyricist: Paul Anka
Vocalist: Connie Francis
There's the guy
I want you to know
He's the guy
I love so
He's my Teddy
Oh Teddy
I, I love him so
Oh, I remember
The day that we met
I'd be so silly
To ever forget
Woo Teddy
Oh Teddy
I, I love him so
Oh, he is so shy
It doesn't matter
You're my guy
Can't you see
That I want you
I need you
I love you, I do
And you belong to me
I'll always love you
The rest of my life
We could get married
I'd be your wife
Woo Teddy
Oh Teddy
I, I love you so
I'll always love you
The rest of my life
We could get married
I'd be your wife
Woo Teddy
Oh Teddy
I, I love you so
