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Regional Reviews: San Francisco M. Butterfly Also see Richard's reviews of Dame Edna's Glorious Goodbye: The Farewell Tour and Alice Munro Stories
Hwang based the play on the true story of a French diplomat imprisoned for treason after it was discovered that his Chinese mistress of 20 years was in fact a male Communist spy, passing government secrets to Mao's administration. Ever interested in how we construct identity, Hwang framed the action within Giacomo Puccini's famed opera Madama Butterfly, wherein Geisha Cho-Cho-San is seduced and abandoned by Captain Pinkerton, an American Naval officer. In layers upon layers of storyline, we see Gallimard (Wilder) become fascinated and enthralled by Song (Louie), embarking on a protracted affair, all but ignoring his German wife Helga (April Green). But is it the actress he loves, or her fulfillment of a Cho-Cho-San kind of fantasy woman? Her modesty, her delicate sensibility, her pure femininity appeal to his image of the perfect woman; and, while there apparently is sexual contact, it is oblique enough to keep Song's true gender hidden. The affair earns Gallimard admiration from his colleagues (all played by Keith C. Marshall), at least for a while. But as his career falls apart and his marriage is shattered, the fabric of his fantasy unravels and the truth must be revealed. Hwang provides much thematic material to chew on—how manhood is defined by the conquest of women; how a country defines itself by its conquest of other countries, rendering them "feminine"; what inhabits the fantasy of the perfect woman/wife; the persistent, both sexist and racist belief that "Orientals" make the perfect wives. We see what we want to believe, blind to the reality that would shatter our carefully constructed world—and countries as well as individuals can fall prey to this self-imposed blindness. It's heady stuff, and just as relevant today as it was 25 years ago. The play's span of early '60s to mid-'80s provides political context and backdrop for ancient stereotypes and prejudices; perhaps we've progressed since then, but we're also reminded of how little has changed. Although there's welcome humor, the play is ultimately a tragedy, much like its framing device of tragic opera. However, one might see it as Gallimard's tragic failure to relinquish his past, to grow and change—which, finally, allows us some hope. City Lights has mounted a stylish, attractive production, with a beautiful set by Ron Gasparinetti, and appealing costumes by Anna Chase. Much is demanded of Nick Kumamoto's lighting design, and it mostly succeeds, particularly in isolated scenes. Sound design by George Psarras adds greatly to the show, with appropriate excerpts from Puccini, or original dramatic music. Wilder rises quite admirably to the role of Gallimard, with his dry wit as well as a simple authenticity. Marshall plays three different roles with aplomb, adding needed comic relief, and Green suffers well as the diplomatic wife. Laura Espino plays Renee, another of Gallimard's sexual forays, with great fun, and gets some of the best lines. Christina Chu transitions from meek assistant to Communist leader quite believably, and Jessica Do and Lee-Ron are especially effective as "dancers" throughout the show. Louie has the most difficult role of them all, needing to portray Song as Gallimard's fantasy woman, then Song as spy, then Song as man and actor who still longs for love. It's a massive challenge, and it's clear that Louie works diligently to create and sustain the various illusions. His ability to switch back and forth between characters is impressive. However, his initial appearances as a woman are not convincing, making it hard to believe Gallimard's misperception. Something to do with costumes and/or wig, perhaps, but the problem hampers the play's credibility. Director Jeffrey Bracco creates some beautiful stage images, and critical moments are well played. Occasional scenes lack thematic clarity, and action drags at times, but this might improve over the run. It definitely makes one think, which is, no doubt, the main object. M. Butterfly by David Henry Hwang, presented by City Lights Theater Company, 529 S. Second Street, San Jose; through April 19, 2015. Tickets $17 - $32; available at www.cltc.org or at 408-295-4200.
- Jeanie K. Smith |
