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About
Beijing, 1983. Two theatrical titans, Ying Ruocheng and Arthur Miller, are about to embark on one of the most groundbreaking productions in theatre history: Ying's Mandarin translation of Miller's influential masterpiece, Death of a Salesman. This unprecedented artistic partnership between China and the United States attracts widespread curiosity and skepticism. In the wake of the communist Cultural Revolution, how can Chinese audiences possibly connect to this classic examination of the American Dream? Misunderstandings and tensions in the rehearsal room abound. As whispers of official scrutiny grow louder, the artists soon realize there is much more at stake than their artistic reputations.
Salesman in China explores the fascinating true story behind an historic collaboration that advanced political relations and forever changed the trajectory of theatrical expression in China. Through the challenges posed by mutual incomprehension, artistic and personal differences, and cultural collisions, their unwavering dedication serves as a testament to the transformative power of art and its ability to transcend borders and embrace a shared humanity.
• This play is based on Arthur Miller's book Salesman in Beijing, an account of directing the 1983 Mandarin production of his play, Death of a Salesman, as well as on Claire Conceison and Ying Ruocheng's book Voices Carry: Behind the Scenes and Backstage During China's Cultural Revolution and Reform.
• The co-authors, Leanna Brodie and Jovanni Sy, are also life partners.
• Back in 2015 when they conceived the idea for the play, the authors were living in Richmond, BC, where Jovanni was Artistic Director of Gateway Theatre. At that time, there was an uneasy tension in Richmond because, in a short span of 25–30 years, the city had transformed from a mostly white community still connected to its agricultural roots into a sprawling suburb where 55% of its residents were of Chinese descent. So the notion of two very different cultures in collision was part of their everyday existence. Much like Ying, Leanna and Jovanni saw theatre as a vehicle for bringing people together.
• The authors hope this play will challenge xenophobia, the fear and blaming of "the other," and those who think we are better off isolating ourselves from the rest of the world.
• The premiere production was internationally acclaimed, with rave reviews from across Canada and in the New York Post and Chicago Tribune, and glowing coverage in the South China Morning Post and on China News, as well as a nearly impossible 9.8 rating on the influential Chinese rating site Douban.
In 1983, the great actor Ying Ruocheng invites Arthur Miller to Beijing to direct his masterpiece Death of a Salesman in Mandarin, a language Miller does not speak. In the wake of the Cultural Revolution and decades of rejecting the West, how can Chinese artists and audiences possibly connect to this classic examination of the American Dream? The internationally acclaimed new play Salesman in China explores the fascinating true story of a monumental collaboration between two geniuses. It speaks to us about the chasms of history and culture, and the power of hope and art. China. The West. Can art bridge the chasm between them?
"A brilliant new play, fully ready to take the world's stages by storm."
"A landmark piece of Canadian theatre, a production that demonstrates the capacity for art to unite, challenge and, ultimately, heal us."
"Salesman in China is . . . a show attracting considerable international attention, as well it should . . . a fascinating new bilingual play."
"A complex, engaging and stimulating work . . . painted in colors both subtle and rich."
"Not only is it a fascinating piece of little-known history, but the engrossing play also boils down a still-contentious, extremely complicated, massively relevant multinational divide into an idea that's simple, timeless and universal: The sho
Salesman in China explores the fascinating true story behind an historic collaboration that advanced political relations and forever changed the trajectory of theatrical expression in China. Through the challenges posed by mutual incomprehension, artistic and personal differences, and cultural collisions, their unwavering dedication serves as a testament to the transformative power of art and its ability to transcend borders and embrace a shared humanity.
• This play is based on Arthur Miller's book Salesman in Beijing, an account of directing the 1983 Mandarin production of his play, Death of a Salesman, as well as on Claire Conceison and Ying Ruocheng's book Voices Carry: Behind the Scenes and Backstage During China's Cultural Revolution and Reform.
• The co-authors, Leanna Brodie and Jovanni Sy, are also life partners.
• Back in 2015 when they conceived the idea for the play, the authors were living in Richmond, BC, where Jovanni was Artistic Director of Gateway Theatre. At that time, there was an uneasy tension in Richmond because, in a short span of 25–30 years, the city had transformed from a mostly white community still connected to its agricultural roots into a sprawling suburb where 55% of its residents were of Chinese descent. So the notion of two very different cultures in collision was part of their everyday existence. Much like Ying, Leanna and Jovanni saw theatre as a vehicle for bringing people together.
• The authors hope this play will challenge xenophobia, the fear and blaming of "the other," and those who think we are better off isolating ourselves from the rest of the world.
• The premiere production was internationally acclaimed, with rave reviews from across Canada and in the New York Post and Chicago Tribune, and glowing coverage in the South China Morning Post and on China News, as well as a nearly impossible 9.8 rating on the influential Chinese rating site Douban.
In 1983, the great actor Ying Ruocheng invites Arthur Miller to Beijing to direct his masterpiece Death of a Salesman in Mandarin, a language Miller does not speak. In the wake of the Cultural Revolution and decades of rejecting the West, how can Chinese artists and audiences possibly connect to this classic examination of the American Dream? The internationally acclaimed new play Salesman in China explores the fascinating true story of a monumental collaboration between two geniuses. It speaks to us about the chasms of history and culture, and the power of hope and art. China. The West. Can art bridge the chasm between them?
"A brilliant new play, fully ready to take the world's stages by storm."
"A landmark piece of Canadian theatre, a production that demonstrates the capacity for art to unite, challenge and, ultimately, heal us."
"Salesman in China is . . . a show attracting considerable international attention, as well it should . . . a fascinating new bilingual play."
"A complex, engaging and stimulating work . . . painted in colors both subtle and rich."
"Not only is it a fascinating piece of little-known history, but the engrossing play also boils down a still-contentious, extremely complicated, massively relevant multinational divide into an idea that's simple, timeless and universal: The sho