![]() ![]() In the intervening years, Hwang has learned more of the details of the intriguing story of a French diplomat jailed for passing secrets to a Chinese opera performer, a woman who had been his mistress for two decades but was also acting as an agent of Mao’s Communist regime. At the time, the Vietnam War still shadowed our foreign policy toward Asia, and sexual minorities were still struggling to be portrayed sympathetically on stage and screen. ![]() His default manner is a bellicose masculinity, the very kind that playwright Hwang critiques, both directly and indirectly, in his Tony Award-winning play, which first opened on Broadway in 1988. All this while the feckless White House resident hasn’t the wit or empathy to speak in language that might bridge diverse communities. Issues of gender and assumed male sexual privilege are headline news, and misapprehensions about race shake the body politic. Butterfly comes at a propitious moment: the Imperialist American project is once again ripe for re-examination. ![]() THE BROADWAY revival of David Henry Hwang’s M. ![]()
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