09
Nov
17

M. Butterfly: My Review

M Butterfly 1

Clive Owen and Jin Ha (Copyright Matthew Murphy)

There’s a prison cell on stage at the Cort Theatre. It’s occupied by a single prisoner. The man in the box is a civil servant convicted of betraying his government. He’s been imprisoned mind, body, and soul along with the remembrances of the circumstances that caused him to be locked away. He fell in love with an enigmatic opera singer and he fell for the trap she set for him. Love is the key that locked him away. The cell is in Paris and the year is 1986.

This is the true story of an affair and an incident that began during the turbulent sixties. Rene Gallimard was a married low-level French diplomat stationed in China who fell in love with Song Liling, an enigmatic Beijing opera singer. His two decades old affair of the heart was blind to the political intrigues and the vagaries of espionage that surrounded his desires. China was a changing political hotbed filled with foreign devils wanting fantasy woman. Gallimard’s fantasy woman was just that, a fantasy. He believed her to be a woman when she was in fact a man.

M Butterfly 5

(Copyright Matthew Murphy)

While it was not unusual at the time for males to portray females in the Chinese opera, the diplomat goes out of his way to believe his lover is a woman and she uses that to her advantage. Her deceptions are deep and even involve spying for the Communist government. Despite warnings from his friend, suspicions from his wife, and the tacit prodding of his superiors, Gallimard falls for the deceptions that ultimately cause him to lose everything including a child that was never really his to begin with. The deceptions and delusions follow him through his trial and his imprisonment, and it’s there in his cell, night after night, that he relives it all over and over again for his own torture, and our amusement.

Butterfly is a powerful play with theatrical provenance. The original production premiered on Broadway in 1988, ran for almost 800 performances, and won the Tony Award for Best Play. The venerable Puccini opera Madam Butterfly plays a role here as well. It’s arias and music frames a great deal of the drama. However, it’s the cinematic quality of this production that truly sets it apart. Clive Owen’s performance as Rene Gallimard is reminiscent of classic Hollywood actors like Clark Gable and Robert Mitchum but with a hollow core at his emotional center. In turn Jin Ha as Song Liling carries his, and herself, with the glamour and mystery of legendary ladies of the Chinese Cinema like Ruan Lingyu and Brigitte Lin but with the added cold steel of a film noir Barbara Stanwyck. The rest of the ensemble also provide solid performances while at the same time carrying out multiple roles.

The settings of scenic designer Paul Steinberg move fluidly from place to place like origami paper sculptures that fold and unfold. Screens as colorful art pieces, transforming into shadow boxes, glass walls, and architectural forms that provide both open space and solitary confinement. The original music and soundscapes composed by Elliot Goldenthal set the proper moods and tones of all these locations as does the exquisite work of lighting designer Donald Holder. The lush costumes of designer Constance Hoffman are beautiful whether they are the drab green wear of menacing soldiers or the decadence of Liling’s gowns and Ma Cong’s outstanding choreography delivers in a multitude of styles as well. The world of M. Butterfly is a fully realized world and all these artists have given it a fluid and very visual life.

M Butterfly 3

(Copyright Matthew Murphy)

This piece of theatrical performance art has one visionary at its core. That creative eye belongs to director Julie Taymor. Her hand can be seen and felt everywhere in M. Butterfly. Her experience in theater, opera, and film all combine into a strong creative vision that coalesces each form into one outstanding piece of work. She is currently represented on Broadway by the grandeur of The Lion King, she’s most known in some circles for the nightmare that was Spiderman: Turn Off the Dark, but here her work is reminiscent of the boldness of her earlier directing choices like Juan Darien: A Carnival Mass. You are just not going to find a director more willing to take an artistic risk on the American stage than Julie Taymor and here the all risks pay off.

M Butterfly 4

(Copyright Matthew Murphy)

M. Butterfly shows no signs of aging. Playwright David Henry Hwang has made some changes to his masterwork but they only serve to amplify the already clear themes of the original, and to clarify some of the facts of the actual events. Arguments can, will, and have been made as to the necessity, both good and bad, of those changes. Just like his first incarnation, time will tell. As for the obvious, one would think that the gender bending twist of M. Butterfly would have lost some of its impact some thirty years later. The opposite proves to be true. In this day and age gender identification is front and center in our national mind set. Though it may be the focus of a great deal of the current body politic, in the new M. Butterfly the issue tugs at the heart strings and serves more of an emotional punch than a shocking blow to the mind. Perhaps the well-deserved attention and accolades this revamped production will undoubtedly receive will help to broaden the scope of our collective psyche.

The Cort Theatre
138 W 48th St
New York, NY 10036
$39 – $139
(212) 239-6200
Mbutterflybroadway.com
Oct 7 – Feb 25, 2018

From an original post on TheaterScene.

Edward MedinaEdward Medina is an Amazon KDP bestselling author of high fantasy, dark horror, and epic adventure books, short stories, and poems. To date his combined works have earned over one hundred and fifty Amazon and Goodreads five star reviews from readers, reviewers, bloggers, teachers and fellow authors.

He is a native New Yorker who over time has built a significant and multifaceted career. He has been a producer, director, and writer for both digital media and the New York Off and Off – Off Broadway stages. He also had the honor and the privilege to work for the late great Jim Henson creator of the Muppets.

Edward founded a successful independent production company dedicated to family entertainment and children’s causes. He also established a multimedia company in order to assist nonprofits achieve their own cause related goals. He went on to become a theme park designer. For fun he became a steam train engineer and has been since childhood a sometime magician.

Currently Edward is a critic and feature entertainment columnist covering Broadway, Off Broadway, Off-Off Broadway, Clubs and Cabarets for TheaterScene and The Fire Island Sun. He also maintains his love of theatrical production by continuing to create new works for both stage and screen. And his dream of building a fully realized world of fantasy on tropical shores is still very much alive and well.

If you’d like more detailed information on Edward’s work, visit his LinkedIn profile or his website. You can also explore his books, follow him on Twitter, like his page on Facebook, and subscribe to his blog on WordPress.

Edward Medina is proud to be a member of the American Theatre Critics Association, the Dramatists Guild, the Society of Children’s Book Writers & Illustrators, and the Horror Writers Association.


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