Ranked among the top three classics of world drama, Xixiang Ji 西厢记 is translated more than any other plays from China for its canonic status. This article examines three significant English translations. From the U.S., there is The Story of the Western Wing (1995) by prominent Western sinologists Stephen H. West and Wilt L. Idema. From China, there is the Romance of the Western Bower (2000/2008) by leading literary translator Xu Yuanchong. Finally, from Singapore, and arguably the first intersemiotic translation for stage performance, there is The West Wing: A Renaissance Production with Modern Music and Dance (2008a) by Grant Shen. On the basis of previous translations, these retranslators promote the particular values of the drama that they cherish, as evident in their texts, paratexts, and ST choice. West-Idema’s emphasis on scholarly semantic correspondence disregards the original need for stage performance. Xu’s effort in trumpeting the elegance of Chinese classics divorces his rendition from the colloquial and vigorous zaju tradition of ST. Last but not least, Shen’s imitation of ST musicality and his catering for audience taste result in distortions to the stage script. This study, by critically comparing and contrasting these three retranslations via the interrelation between their texts and functional paratexts, hopes to help reveal the drama’s richness and nuances that have been missed or suppressed by any one rendition.