VOICE CHOICE

“Stratford’s gamble with this Salesman scores big time! A magnificent, ground-breaking world premiere recounting inter-cultural human connection equates to a rare, near-perfect piece of theatre. You’ll want to experience it more than once.”

My job as a theatre reviewer is to objectively assess and analyze all aspects of a production, including the direction, acting, set design, costuming, wigs, lighting, and sound design. I also reflect on choices made, what works for me and what I think might improve the audience’s theatre-going experience. I’m thrilled to report that the world premiere of “Salesman in China” at Stratford’s Avon Theatre is one of those rare theatrical experiences that took me completely off guard with its thrilling and engaging story, superb performances, compelling stagecraft, and passionate direction. I can’t remember attending a more perfect production!

This is the apex of live theatre: an engaging and thought-provoking story of empathy, compassion, and humour and how the process of theatre-making can bridge the cultural divide and bring nations together. Next, production and performance elements that seamlessly compliment each another. Finally, an audience sitting in rapt silence for two hours, not just watching a play, but experiencing an event!

Such is Leanna Brodie and Jovanni Sy’s, “Salesman in China”, their ambitious and daring adaptation of playwright Arthur Miller’s memoirs of his 1983 trip to Beijing to direct his play, “Death of a Salesman” at the Beijing People’s Art Theatre. This is a fascinating recounting of Miller’s paradoxes of directing a tragedy about American capitalism in a communist country.

This historic collaboration symbolized the beginning of a new era of American-Chinese diplomatic relations shortly after China’s emergence from the decade-long chaos of the Cultural Revolution. China at this time was a land shut off from the far-reaching influences of the West.

The story focuses on prominent American Miller and the equally prominent Chinese actor, director and translator, Ying Ruocheng, who will play Willy Loman in the play. The eyes of the world are fixed on the production, which signals a thawing of the two nations’ icy relations. Ying quickly discovers the many cultural bridges that surpass the language barrier. The Chinese are oblivious to the cultural underpinnings of Miller’s work. They don’t know about travelling salesmen, insurance policies or personal automobiles. How will he and Miller collaborate to bring the notion of the “American Dream” to audiences in communist China? How will Ying please the watchful eyes of the various government officials and attachés along with the artistic director of the People’s Art Theatre?

The cultural divide between Miller, Ying and their collaborators is fundamental to the show’s premise. Not only did they need to reconcile vastly different languages, but they had to find a middle ground on its central themes of fatherhood, familial legacy, and worth. Something that resonates very differently in both cultures. This is where Brodie and Sy thoughtfully challenge audiences to reflect on present-day international affairs, societies, events and relationships.

Director Sy and his entire company have achieved a first for Stratford – This production shifts seamlessly between Mandarin and English and is performed by an almost entirely Asian cast. Subtitles cleverly span the breadth of the elevated stage with English titles when Mandarin is spoken and vice versa. Sy’s passion for this monumental production is tenable from the first scene in the rehearsal hall of the People’s Art Theatre. Particularly moving was the collective breath taken by the actors before they started the first rehearsal. I instantly felt connection; connection of the cast to the material, the audience to the cast, all of us to each other. Goosebumps!

Sy’s inspired staging and use of cinematic techniques for flashbacks and dream sequences is masterful, particularly in Ying’s garden home and while rehearsing his monumental scene. There isn’t a single line delivery, piece of staging or scene change that isn’t carefully considered. Speaking of scene changes, they are among the most beautifully choreographed I’ve ever seen. Cast members bring on and take off furniture and props with an almost balletic grace. Nothing in this show is random. Hats off to the leadership and vision of this fine artist.

Stratford favourite Tom McCamus leads the top-notch cast as Miller. His performance as the great playwright is multi-layered and complex. His Miller is charming one moment, capricious the next. He embodies the intelligence, arrogance, and fierce commitment to his art, which was well known to those in Miller’s inner circle. Also well-known is that Miller may have been autistic and was known to “never keep still.” Kudos to McCamus for his attention to this subtle physicality.

But the show really belongs to Adrian Pang in his Stratford debut as Ying Ruocheng. This man’s charged performance is a masterclass in fine acting! It’s hard to ascribe an adjective that adequately defines his work in this starring role, but I’ll start with genius!

Ying is a charming, funny collaborator for Miller. He is affable at first but has a tormented past and personal demons that threaten to derail his art and relationships. Ying is so good, his characterization so compelling, and his monologues so breathtakingly poignant that you can’t take your eyes off him. His performance alone is worth the ticket price. The chemistry he shares with McCamus is both heartwarming and heartbreaking. Joyous!

As Miller’s wife Inge, Sarah Orenstein portrays a loyal and supportive partner (she even learned to speak some Chinese) with unswerving faith in him and his production. Her scene with McCamus at the top of Act 2 is delightfully tender.

In stark contrast is Jo Chim’s portrayal of Ying’s wife, Wu Shiliang. Unlike Inge, she’s skeptical and questions Ying’s involvement with Miller and the play. She’s protective of Ying and fears for his career should the play fail. Chim and Orenstein are excellent in their strained portrayal of wives in turmoil.

The balance of the wonderfully talented cast plays multiple parts, all invested in their roles and thoroughly engaging.

It’s not only the actors that are epic! Stagecraft is off the charts! Joanna Yu’s stark set design with perfectly synced English and Mandarin subtitles is innovative and functional. However, there’s a second screen at the top of the stage that is used briefly to indicate location and time. This one is easy to miss as it’s set too far away from the main subtitles and is easy to miss. I would have liked all the subtitles in one place. Chairs, tables, desks, mirrors and other small props are brought on and off by actors with military precision. Special note to the illusory staging of Ying and Miller watching their play’s final scene from “backstage”.

Abstract projections on the back walls, courtesy of co-designers Caroline McCaull and Sammy Chien (Chimerick), are effectively and often frighteningly used for flashbacks (especially Ying’s imprisonment and panic attack during rehearsal).

Sophie Tang’s lighting design is muted overall. It provides lots of shadow and minimal colour, nicely evoking the harshness of the totalitarian state. Harsh shafts of white light keep key scenes cold and ethereal.

Alessandro Juliani’s original compositions of traditional Chinese folk music, coupled with ambient drones and supplemental background effects, gracefully, sometimes horrifically, enhance but never overpower.

“Salesman in China” is the season’s most exhilarating and conversation-inducing work. Its themes of family, values, familial relationships, cooperation, and collectively bridging the cultural divide conjure laughter and tears. This gem is inspired, full of heart, and not to be missed. The bad news? It has a painfully short eight-week run. The good news? It’ll move to Ottawa’s National Arts Centre in January 2025, so don’t let this masterpiece slip away!

Running time: Approx. 2 hours, 25 minutes with one intermission
The production runs until September October 26 at the Avon Theatre, 99 Downie St., Stratford,
For tickets call the Box Office at 1-800-567-1600 or email www.stratfordfestival.ca


The Stratford Festival Presents “Salesman in China” by Leanna Brodie and Jovanni Sy
WORLD PREMIERE

Directed by Jovanni Sy
Set designer – Joanna Yu
Lighting designer – Sophie Tang
Composer and Sound Designer – Alessandro Juliani
Co-Projection Designers – Caroline McCaull and Sammy Chien (Chimerick)
Fight and Intimacy Director – Anita Nittoly
Movement Director – Harriet Chung

Performers: Tom McCamus, Adrian Pang, Jo Chim, Phoebe Hu, Derek Kwan, Sarah Orenstein, Agnes Tong and other Canadian artists in the ensemble.