I would like to make an addition to Walter J. and Ruth I. Meserve's “The Stage History of Roar China: Documentary Drama as Propaganda,” Theatre Survey, 21 (May 1980), 1–11. The propagandistic qualities of Tretiakov's play can be seen in a production I mention in my article “Theatrical Activities in Nazi Concentration Camps,” Performing Arts Journal, 1 no. 2 (Fall 1976), 3–11. In 1944 an inmate of the Polish concentration camp in Czestochowa, Shie Tigel, was allowed to organize theatrical activities. Tigel, who had been an actor in the Warsaw Yiddish theatres, was allowed to construct “a special barrack for theatre with a stage, curtains, and light reflectors.”