David Henry Hwang's modern classic, M. BUTTERFLY charts the scandalous romance between a married French diplomat and a mysterious Chinese opera singer - a remarkable love story of international espionage and personal betrayal. Their 20-year relationship pushed and blurred the boundaries between male and female, east and west - while redefining the nature of love and the devastating cost of deceit.
Academy Award nominee and Golden Globe Award winner Clive Owen will star as Rene Gallimard in the first Broadway revival of David Henry Hwang's Tony Award-winning play, M. BUTTERFLY, directed by Tony Award winner Julie Taymor.
For the Tony Award-winning play's first Broadway return, Hwang will introduce new material inspired by the real-life love affair between French diplomat Bernard Boursicot and Chinese opera singer Shi Pei Pu that has come to light since the play's 1988 premiere.
Most theater is a seduction. Bodies and lights, words and clothes, they all tempt us to embrace what's unreal. David Henry Hwang's M. Butterfly, now revived on Broadway, starring Clive Owen, is a play that uses the tools of theater to both celebrate and question how we give ourselves over to fantasy. Nearly 30 years on, it's still clever, tender and formally daring. But Julie Taymor's staging and Hwang's rewrites unbalance the delicate poise between illusion and truth.
Three decades later, M. Butterfly remains provocative and timely, with a great deal to unpack-in part because Hwang, in an unusually extensive revision of the text for its current Broadway revival, has stuffed it with new information. The humiliated Rene Gallimard (Clive Owen) still begins the play in the cocoon of a French prison cell, guiding the audience through flashbacks to his time with Song Liling (Jin Ha, continuously intriguing). But the nature of their intercultural romance has shifted. When they meet in this version, Gallimard knows that Song is male; Song must invent a far-fetched family history to convince him otherwise. These changes, among others, help shift the storytelling away from symbolism and toward a more specific account of a particular relationship, albeit a bizarre one. Aside from lively dance sequences set at the Peking Opera-which was traditionally all-male, Song notes, 'Because only a man knows how a woman is supposed to act'-there are few spectacular flourishes.
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2017 | Broadway |
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