In recent years, the international dissemination of Chinese dramas has become a striking feature in Sino-foreign cultural exchanges, contributing significantly to promoting national culture and enhancing national soft power, with translation playing a pivotal role. Guo Shixing’s contemporary Chinese drama Birdmen, written in 1991, is one of his “Idler Trilogy”. Inspired by his epiphany after reading Zen Buddhism and Psychoanalysis co-authored by Daisetz Teitaro Suzuki and Erich Fromm, the play premiered in March 1993, directed by Lin Zhaohua and starring He Bing, Pu Cunxin, Jing Hao, Fu Jia, among others from Beijing People’s Art Theatre. Jane Lai completed her English translation of Birdmen in the same year, which was later included in An Oxford Anthology of Contemporary Chinese Drama edited by her and Martha Cheung. Lai has repeatedly mentioned her deep affection for this play in private; moreover, she translated it after communicating with the original author, thus devoting great efforts and achieving remarkable results. This chapter takes Jane Lai’s English version of Birdmen as a case study, exploring how, as a bilingual writer and translator, she leveraged her profound knowledge of foreign literature and bilingual advantages to make poetic choices in translation, with a focus on the characteristics of the play such as stage performance and cultural appreciation.