The Summer Snow (see The Injustice to Dou E) #17 of #30 is the last hit collaboration of Fong/Tang and Yam Kim Fai while Hung and Yam stopped sharing the stage much earlier in 1953. His scripts, albeit monolithically "Mandarin and Butterfly" , gradually matured to making the performers (戲擔人) successful instead of relying on the performers (人擔戲) to make his scripts successful. Tang, in and out of hospital for his heart problem, was rumored to be mixing alcohol with coffee as he encountered writer's block in these four years. Mind over heart? Or heart over mind? He hurried to "throw in the kitchen sink". One reason could be that linchpin Yam Kim Fai, after more than 30 years, was ready to quit stage performance entirely especially after some surgeries in 1950s. That is, make or break, time for last call. Tang only worked with those he found worthwhile to spend time and effort on. For example, good vocalist Tam Lan Hing (譚蘭卿), whose physique was same as the first Mrs. Tang, was never on Tang's radar. At this stage, Tang immersed himself in work to create ""the perfect (smart, beautiful, educated...) female lead for the male lead to dive head first for"" roles for only his favorite few actresses. Audience was led to admire, respect, love, .., pity, feel sorry for the noble/honorable female characters he wrote. What's leftover for the male lead to make do with gave them very few "roles of a lifetime". In 1990, one columnist wondered why ladies in the audience would be hooked to the male lead character and eventually also to the performer personally. Born to a Chinese father and a Japanese mother, Cheng Meng-har was an accomplished Chinese opera performer (in Shanghai, China) long before Tang started diving into some of his most famous career choices. A ‘’in Cantonese’’ only radio show had a complete account of Tang’s life and work, from birth to death. Other than personal hygiene (taking a bath or not), lifestyle and family, major contributions in several aspects the second Mrs. Tang made are:-  Generally Title specific  In 1959, Yam edited as she saw fit when she chaired the script-review sessions with six pillars and Tang at the table. Photograph recorded this scene with Lam Kar Sing in it. The audience laughed out loud when a female lead delivered her line about her character being 15/16 years old only in some of the biggest stage productions in 2000s Hong Kong.