When “M. Butterfly” opened on Broadway in 1988, it was the talk of the town for its avant-garde exploration of love, sexual relationships, and preconceived notions about East/West racism and imperialism. Winning three Tony Awards, including Best Play, “M. Butterfly” propelled Henry Hwang (“Chinglish,” “Yellow Face,” “Soft Power”) to the top tier of American playwrights.
Based on the real-life 1986 trial of diplomat Bernard Boursicot, “M. Butterfly” explores the Frenchman’s 20-year love affair with a Chinese opera singer who, to the outside world, appeared demure and submissive woman, but who was actually a male spy.
I wondered how “M. Butterfly” would hold up almost 40 years after it was first written, in our age of sexual openness and gender fluidity, when the concept of a sex partner hiding behind a veil of modesty and mystique for 20 years seems more than quaint. It seems bizarre. But it works in this outstanding production. The combination of playwright Hwang’s remarkable writing, Bridgette Loriaux’s subtle and astute direction, and great acting makes “M. Butterfly” a dazzling night at the theater.
The two leads are absolutely stellar. Dean Linnard puts on a brilliant performance as Rene, the awkward man who longs to be more macho and popular and winds up being “loved by a perfect woman,” Song Liling, the male Chinese opera singer/spy. Edric Young plays the tremendously difficult role of Song Liling with remarkable talent and stage presence, making it seem effortless and believable.
The always wonderful Stacy Ross, in her supporting role as Rene’s superior at the French consulate, conveys a world-weary air of sophistication and nonchalance ── about politics and sexual relations. All the other actors are first-rate as well. As a very modern Western woman, actor Amanda Pulcini is very funny, and hits close to home in her bit about men and their “maleness.”
Henry Hwang is at the top of his game when he writes about love ─ with its great joys and agonies. Rene’s yearnings for the perfect love are so great that he turns his own perceptions upside down to keep his love alive. The author uses the West’s preconceived notions of the “mysterious, backward, and forbidden” East to help explain Rene’s credibility in falling for Song Liling’s impersonation.
To further demonstrate his considerable playwrighting talent, Hwang juxtaposes the complex personal stories of Rene and Song Liling with the background of Asian and Western politics over the years. For example, we get a firsthand look at how the West cannot imagine the small Vietnam besting the mighty US.
In the opening scene, Rene, having already been convicted of espionage, speaks to the audience from his jail cell, telling the story of his true love. The theme of Puccini’s opera “Madame Butterfly” pervades the drama and foreshadows the play’s tragic end in Rene’s cell. We leave the theater thinking about the wonder of love and how it can betray us.
By Emily S. Mendel
© Emily S. Mendel 2026 All Rights Reserved
