“ ‘Salesman之死’ breaks open into a kind of multilayered memoir-meets-documentary...Every gesture is graceful, precise — an aesthetic demonstration of exactly what ‘Salesman之死’ aims to dramatize: the nuanced, elucidating, and transformative act of translation.”
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“ ‘Salesman 之死’ is a love letter to Shen and all the unsung heroes who toil far below the title to make a show a success.”
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Not only is Jeremy Tiang’s "Salesman 之死I" an important document of a classic American play, it is also an illustrative reminder of the cultural differences between China and the United States. Under the direction of Michael Leibenluft, the cast of six is always engaging and always convincing playing both men and women alternately. The design puts the audience directly into that rehearsal room from March to May 1983. The play also allows us to watch major American playwright Arthur Miller as he explores and rethinks a play he had written over three decades before. The fact that the Chinese actors eventually did so well with this typically American text demonstrates the universality of Miller’s greatest play.
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“The play is frequently funny as the characters understand and misunderstand each other. The gaps between cultures sometimes are so unexpected and amusing...These are the moments that you also have to reflect on your own culture when confronted by another one.”
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