For centuries, they were the stuff of legends – the Emperor's shadow, draped in embroidered uniforms, their blades flashing in the dark. The Embroidered Uniform Guard, or Jinyiwei, served as the imperial secret police of China's Ming Dynasty (1368-1644), feared for their power, secrecy and unwavering loyalty to the throne. Their stories, however, were long confined to history books – until now.

Since its premiere in late 2024, the Chinese musical The Emperor's Shadow: Blades and Flowers has been redefining how traditional Chinese history is told on stage. More than 130 performances later, all sold out, the production has grossed over 80 million yuan (about $12 million), according to the show's production company.

"When we were young, we loved foreign musicals," said Liu Xiaoyi, director and choreographer of the musical.

"But once we started creating our own, we realized that Chinese stories and culture can be just as moving through this art form. Young people today are more confident and more interested in traditional culture," Liu said.

At its heart, the musical follows two unlikely protagonists swept into the turbulent aftermath of the Jingnan Campaign, a three-year civil war that reshaped the early Ming Dynasty.

Feng Wuyang, played by Zhang Zhihan, is a grassroots hero who seizes his chance to become a Jinyiwei, tasked with capturing the "world's greatest cricket" for the emperor.

"Audiences relate to Feng Wuyang because he's an ordinary person. People want to see how someone like him survives, grows and makes a difference in a turbulent era," Zhang Zhihan explained.

In contrast, Mei Shuanghua, portrayed by Zhang Ze, is a eunuch official of the Eastern Depot – the Ming court's internal spy agency. Taken from his family at age five and trained for a life of servitude, he secretly plots revenge over decades, moving his pieces like a chess master. But just when he believes he has everything under control, he fails.

"I think audiences find that heartbreaking," Zhang Ze said. "People always feel sorry for things left unresolved."

What sets the musical apart is its embrace of "new Chinese style" – a contemporary aesthetic that reimagines tradition through a modern lens. Composer and arranger Zhang Bo describes the score of the show's music as a fusion of Peking Opera percussion, traditional pentatonic melodies, rap and electronic music.

He believed that the soul of each song lies in its lyrics and melody, which carry a distinctly Chinese cultural identity.

"Once a melody is built around traditional Chinese musical modes, its cultural identity naturally emerges. The arrangements can be incredibly diverse – electronic, symphonic or amplified instruments – but those are enhancements to the core melody," Zhang Bo said.

The musical's impact has also spilled beyond the stage. During its run in Nanjing City, east China's Jiangsu Province, audiences visited the local Ming Dynasty heritage sites inspired by the story. In Wenling City, east China's Zhejiang Province, more than 60% of theatergoers traveled from outside the city, giving a noticeable boost to local tourism, according to the production company.

"If audiences are willing to travel along with the show, that's truly remarkable," Liu said. "But we still have a long way to go. I'd love to see people from around the world come to China to experience original Chinese musicals. These are experiences you can only have in China. The day that happens, I'll be very happy."

For composer Zhang Bo, the show's success reflects a broader cultural shift.

"As China continues to develop, more people will become interested in Chinese culture. With greater understanding comes deeper appreciation, and that will help Chinese culture reach even more people around the world," he said.

Executive producer: Zhang Jingwen

Producer: Yang Sha

Director: Guo Meiping

Videographer: Wang Hongyuan, Han Xu

Graphic designer: Sha Yunjin