Yu Zhibin's account identifies the "Lixiahe Hui troupes" as the origin of both southern Jingju and the Southern School of Jingju, an interpretation subsequently adopted by a number of historical works and gazetteers. However, the archives of the Shengpingshu, materials from the Liyuan Guild, modern newspapers, biographical records of performers, and memoir literature show that his arguments rest either on lapses in basic historical knowledge and misreadings of sources or on faulty inference and conjecture. The construction of a supposed "group of renowned Lixiahe performers" conflates performers' native places, troupe affiliations, lineages of instruction, and artistic genealogies. Stories that Wang Hongshou joined a theatrical troupe in the Taiping army and created and performed Hongyang zhuan also conflict with evidence concerning his age and the relevant chronology and, given the evidence currently available, cannot be accepted as historical fact. The Southern School of Jingju did not develop independently of the Jingju tradition formed in Beijing. Rather, it emerged as a regional transformation through the sustained southward movement of Beijing troupes and performers, competition and mixed-troupe performance between Jing and Hui troupes, artistic assimilation, and the particular theatrical institutions and sociocultural environment of Shanghai. The "Lixiahe Hui troupes" may properly be studied as a regional phenomenon in the history of Hui troupes, but the evidence does not warrant positing them as an independent origin of southern Jingju.