Pingtan, which originated in Suzhou during the Ming dynasty, is a storytelling and singing art form performed in the Suzhou dialect, known as the Wu dialect. The dialect is often described as the "soft speech of the Wu people", as it sounds gentle, melodious and emotionally rich. Gao, who has studied and practised pingtan for nearly 40 years, explains that in traditional performances, a storyteller could sing for two hours each day continually to complete a lengthy story. However, at the 52nd Hong Kong Arts Festival,  the Shanghai Pingtan Troupe will take a more condensed approach for Dream of the Red Chamber: A Concert. This large-scale, comprehensive performance features an extensive lineup, including more than 10 pieces such as Lin Daiyu and Wang Xifeng, performed individually or by pairs of different actors and actresses. It's a showcase of the various styles and intonations of pingtan, aiming to accurately depict the characters' personalities. To engage and facilitate understanding for the Hong Kong audience, the troupe will also perform excerpts from well-known classic romantic plays such as The Legend of the White Snake, The Palace of Eternal Youth and Fatal Irony in separate programmes.

The concept of being "well-adorned" does not just refer to the performance style of pingtan—it also encompasses its musical qualities, with the potential for integration of genres such as jazz, rock and pop music. As the storyteller begins to speak, audience members will understand why there's no need for theatrical costumes, well-crafted props or elaborate sets. The mere sound of the performers' voices is enough to immerse the audience, transporting them back to the ambience of a Jiangnan-style garden or an ancient town. This atmosphere further allows pingtan to transcend linguistic barriers, attracting a wide range of people from diverse regions who may not understand the Wu dialect but are drawn to the charm of old Jiangnan. 

"Language is a barrier, but not an insurmountable one," Gao points out. Despite the widespread use of Putonghua, which poses challenges to the preservation of regional dialects and the promotion of traditional local theatrical arts, the troupe has historically tailored its performances within mainland China for local  audiences by, for example,  using subtitles and adjusting the contents of the performances. For instance, when performing in Shanghai, more narration is used because the dialect is more widely spoken. And when performing in regions such as Northeast China or Guangdong, where the audience may not be at all familiar with the Suzhou dialect, it emphasises the musical aspects of the performances.