Qilintong (Zhou Xinfang) and Ma Lianliang were leading senior male roles in the golden period of Peking opera. They both specialized in characters that required virtuoso singing and performing. The repertoire and characters they mastered considerably overlapped. Many times did they appear in the same play and on the same stage. I will use play reviews, theatre houses' advertisements of the 1920s, the actors' autobiographical accounts, memories of theatregoers and research articles to reconstruct the competitive atmosphere between Peking Opera commercial theatres and the circumstance that impelled the actors to formulate their own artistic styles. The case studied in the first section of this article is their same-stage competition in Tianchan Theatre, Shanghai in 1927. I will compare their repertoire arrangement, explore the strategies they used to win over audience, and analyze how their strategies reveal the trend of Shanghai theatre. In the second section, I discuss how certain plays, stimulated by commercial theatres' competition, and polished repeatedly by Qi and Ma, became famous plays of their respective schools. There are even plays such as Four Scholars and Breeze Pavilion that are considered representative repertoire of them both. I will analyze in detail how the two actors used their different performance styles to interpret the same character, how the audience welcomed the result, and how they remained active on stage during the golden period of Peking Opera and became masters of the senior male role.