FULL-LENGTH


In 1983, Arthur Miller traveled to Beijing to direct a production of his play Death of a Salesman at the People's Art Theater. The translator and lead actor, Ying Ruocheng, was a well-known figure who would go on to become China's Vice-Minister of Culture and star in The Last Emperor. Just six years after the end of the Cultural Revolution, this unprecedented production brought a slice of American culture to a society that was only just started to come into contact with the outside world after more than a decade of isolation. The collisions and misunderstandings during the rehearsal process throw up new questions about this iconic play. What does it mean to translate a story, not just linguistically but also culturally - and what is lost (or gained) along the way? 

           

 Julia Gu, Vivian Chiu and Julia Brothers (photo credit: Mehboob Ahmedabadi)

 

The Last Days of Limehouse -- Yellow Earth Theatre, London (July/ August 2014, directed by Kumiko Mendl and Gary Merry

-- published in British East Asian Plays (Aurora Metro Books)

"This unsentimental show constantly sets up a tension between nostalgia and pragmatism, the past and progress, youthful optimism and old memories, what is gained and what is lost. Tiang's script layers these ideas well in a piece that is made with love and acted with real vigour." -- Lyn Gardner, The Guardian

 

 Amanda Maud in The Last Days of Limehouse (photo credit: Robert Workman)

 

A Dream of Red Pavilions (adapted from the 18th Century Chinese novel Hong Lou Meng) -- Pan Asian Repertory Theater at the Clurman Theatre, NYC (Jan/ Feb 2016), directed by Tisa Chang and Lu Yu. Readings at the Oregon Shakespeare Festival (Mar 2015) and Yellow Earth Theatre/ Bush Theatre, London (Mar 2013)

"Pan Asian Repertory's handsome...new production...The playwright, Jeremy Tiang, has to be commended for thinking big."  -- Anita Gates, The New York Times

 Vichet Chum, Mandarin Wu and Leanne Cabrera (photo credit: John Quincy Lee)