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"'M. Butterfly' returns to Broadway on heavier, drabber wings...Hwang more than implicitly compares Gallimard’s dim vision regarding his love object to the unrealistic beliefs that Western countries hold about the East...For 'M. Butterfly' to have emotional impact, it must make its audiences uneasily complicit in that fantasy. In this version, you always maintain the distance...We’re not being seduced, but preached at." Full Review
"Despite Taymor’s infusions of stylish pageantry – or possibly, in part, because of them — the play’s emotional core seems to have been hollowed out...Taymor’s plodding, sometimes fussy staging, coupled with Hwang’s revised version of the play, ultimately leave a wearying, watery impression...This production tends to underline the play’s flaws, notably Hwang’s sometimes over-explicit writing." Full Review
"Taymor's stylish revival attempts to seduce us into belief, to make its gender-play seem not only plausible but understandable...Ha's believably feminine performance undergirds our uncertainty...Taymor artfully constructs Gallimard's orientalist dream...Minor quibbles about the play's occasionally sluggish pace shouldn't obscure the point that no other director comes close to Taymor's magpie talent for incorporating diverse theatrical forms into a singular vision." Full Review
"Gorgeous if oddly unmoving...Owen seems deeply haunted by Gallimard’s forbidden love for Song Liling; but his earnest attempt to play the character’s sexual uncertainty is ultimately unconvincing. Taymor has shielded Hwang’s poetry from being overwhelmed by the sheer theatricality of the story...By fortifying the scenes that frame the love story, Taymor has also strengthened the political undercurrents of the play." Full Review
"'M. Butterfly' remains provocative and timely, with a great deal to unpack—in part because Hwang has stuffed it with new information...These changes help shift the storytelling away from symbolism and toward a more specific account of a particular relationship...Aside from lively dance sequences, there are few spectacular flourishes. Not all of the directorial choices make immediate sense...But even at its most confusing—not to say inscrutable—the revival commands fascination." Full Review
“I found ‘M. Butterfly’ 2.0 to be a fascinating, provocative series of boxes and surfaces, constantly shifting and reconstituting itself to beguile our senses and sympathies...Taymor’s intense, painterly staging complements the shifting perspectives and cinematic quick cuts of Hwang’s script...Taymor creates a dazzling series of tableaux that mesh perfectly with Hwang’s heightened, poetic lines...Owen is unexpectedly vulnerable as a Frenchman undone by his cultural prejudices." Full Review
"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...Owen is a captivating presence, even playing a man without allurements. Jin Ha makes a nicely spiky Song...This new version is more grounded in fact, which leaves one hungry for particulars of the real story." Full Review
"Occasionally striking but ultimately disappointing...Taymor focuses on visuals and neglects the human connections. The opening is gripping...But the subsequent staging consists mostly of actors running on and off...There is little spark between Owen who is miscast, and Ha who is intriguingly feminine...The first version was infused with mystery and sexual longing, but both playwright and director have clipped the play’s wings, leaving us with an earthbound 'Butterfly.'" Full Review
"Hwang’s explorations of these themes in the play remain timely, shockingly so...All these added details may make the play feel more realistic; they certainly complicate it. But those of us acquainted with the original may feel that in the process of grounding the story in fact, there has been a loss of some surprise…resonance…mystique...The new 'M Butterfly,' for all its changes, remains provocative, enlightening and entertaining." Full Review
“The thrill is diminished, in part thanks to a miscast star and a busy, bustling production that, too often, seems interested in pageantry for its own sake...Taymor has gotten Hwang to revise the script, filling it with unnecessary details...The original script is a solid piece of construction leavened by considerable wit and ideas that still provoke and stimulate; by adding all this froufrou, a once-powerful drama now packs all the sting of, well, a butterfly.” Full Review
"The bluntness and lack of poetry in Taymor's sluggish 'M. Butterfly' revival are no fault of the talented Jin Ha, who plays Song with an enigmatic air..Owen's dour Gallimard is more hamstrung by the production's approach...M. Butterfly remains a provocative drama...But in their counterintuitive attempt to make the play relevant for an audience more versed in the complexities of gender and racial politics, Taymor and Hwang have inadvertently undercut its pathos." Full Review
“This butterfly doesn't soar…It's…clear that…Taymor's strengths are mainly visual and rhythmical; the acting in her work is too often geared toward the theatrical…The performances in 'M. Butterfly' tend to be colorful but overripe and lacking in subtlety. Too many speeches, especially in the play's closing moments, have the feel of message-laden rhetoric…Without a believable, much less moving, connection between Gallimard of the West and Song of the East I doubt that ever the twain shall meet.” Full Review
"Ms. Taymor’s revival isn’t remotely worthy of Mr. Hwang’s subtle meditation on male desire and the inability of Westerners to understand the Asian mind, and Mr. Owen is so miscast that it’s easy to forget how fine an actor he can be under more favorable circumstances...Jin Ha, by contrast, is astonishing...Were the rest of this production half as impressive as his performance, it would be worth paying any price to see." Full Review
"Oh lord, what have David Henry Hwang and Julie Taymor done to 'M. Butterfly'?...Its seriously misguided and marred Broadway revival contains extensive, unnecessary and mostly detrimental rewrites...Visually, the production is a mess...Likewise, Hwang’s meandering and confusing rewrites bring the suspenseful pace to a halt...The play was ripe for revival — and it has instead been ripped apart." Full Review
"The revision of the script is very savvy and potent. But it doesn't solve all the problems with Taymor's revival, which begin with Owen's invulnerability...You do believe Ha, whose very sophisticated, disciplined and nuanced performance is the highlight of a production that embraces a whole variety of styles without ever really committing to a fully consistent point of view...Such scenes require an unstinting embrace of emotional truth — places that this production seems reluctant to go." Full Review
“The revival lacks chemistry and plausibility...I never believed that either was infatuated enough or in lust enough, to make this story real. You also must believe that Song can pass as female and sadly I never believed that...Owens performance is lacking in any kind of substance. At times it felt like he was reading the phone book...I found myself feeling nothing for Gallimard...This revival of ‘M/ Butterfly’ just lacks humanity and all those things that make us feel and are human.” Full Review
"Both visually and intellectually, this revival is a wholesale departure from John Dexter’s original production, a decision that turns out to have been wise choosing. This 'M. Butterfly' is every bit as memorable as the original...This conventional style for such an unconventional script has the salubrious effect of throwing the action into high relief, and allows both Owen and Jin Ha to shine; they’re mesmerizing...A heated, intensely provocative show. It never lets up." Full Review
"Between a wan star turn, a clumsy staging and nagging issues that remain even with a revised script, the revival at the Cort Theatre frustrates and falls flat...There’s no mystery or ambiguity in Owen’s portrait...Taymor's work here is short on passion and inspiration...If you’re determined to see a fully satisfying Broadway play, 'M. Butterfly' isn’t the right specimen." Full Review
“The script additions and deletions and Taymor's staging innovations work quite well...Owen and Ha both give vivid new life to the diplomat and the object of his fantasy...Both are best when alone on stage...since the sexual sizzle between them never rises above a simmer...Go to this ‘M. Butterfly’ with an open mind. Even if it doesn't add up to quite the 'wow' you saw or heard about, you'll find it to still be an intriguingly unusual and enormously theatrical story.” Full Review
“Taymor’s onslaught is straight on powerful and direct, energetically engaging, and dramatically concise. It doesn’t seem to want to mask this tale in a romantic or mysterious mist, but to shine a more harsh, realistic light on the story...A bolder and less gauzy attitude is being presented in this production...A powerful and well acted revival. The big reveal does lack surprise, but Hwang’s factual altering of this story brings it forward into the present world.” Full Review
"So much revision has been done to the 30th anniversary production and first Broadway revival of David Henry Hwang's Tony Award winning 'M. Butterfly' starring British film star Clive Owen that it is a bit of a misnomer that the play retains the same name. While the themes of East and West relations may be even more relevant now than in 1988, the play seems to twist itself out of shape to retain the element of surprise." Full Review
"I was prepared to enjoy the production on its own terms and, to some extent, I did. Owen...unconventional choice to play the socially awkward Rene Gallimard, carries it off well...The complex story remains fascinating even though the playwright’s revisions...may have added too much information at the cost of mystery. There are occasional moments, particularly at the trial, when it becomes too much like a geopolitical lecture. Nevertheless, there is much to admire." Full Review
"Hwang has so much going on that it’s difficult to say for sure what’s going on, and sometimes that includes the plot. What does come across in the new 'M. Butterfly' is that Gallimard never has much sexual interest in women. Owen’s riveting, tortured portrayal makes that clear...Julie Taymor is better known for directing sets than actors, but her success here isn’t limited to Owen’s performance." Full Review
"To his infinite credit, Owen does everything in his power to overcome this central bit of miscasting...Taymor adds some unusual visual elements to the production...Still, the production feels a bit skimpy, and one can’t help but wonder what Taymor would do with a larger budget. Try as everyone might, this 'Butterfly' never really soars; but it rarely crashes to the ground either." Full Review
“Unfortunately, as rewritten by Hwang and directed by Taymor, the piece is so cheapened that this curious tale of love and betrayal now drowns in weighty realism, down market visuals and Chinese Opera numbers that have all the grace of a second tier touring company. Despite best efforts of the talented Owen, we stop caring long before the lovers’ confrontation and court scenes...Julie Taymor divested the play of romance, smoke and mirrors paramount to its success.” Full Review
See it if I saw the original Broadway Show and it was riveting. This production directorial and design wise looked like a budget bus and truck tour.
Don't see it if If you was dramicic effects and accurate chiness opers. See it at the Met museum next year in the Astor court . That is amazing.
See it if you absolutely MUST see Julie Taymor's latest work or have never encountered Hwang's text before
Don't see it if you value your time, money, and wish to keep your idols on their ivory pedestals
See it if exquisite performances by leads Clive Owen and Jin Ha; exhuberant moments of stagecraft and an unexpectant "dream ballet" in the middle
Don't see it if Set pieces often look cheap and are distracting; Act I requires so much storyline setup that best moments are in Act II; partial nudity
See it if you love Owen or new talent. If you're new to the story. Clever... with political and gender and machiavellian overtones.
Don't see it if you find stage manipulation distracting..hands turning panels v high school. If you adored 1st production this might disappoint (didn't see)
See it if I had never seen M. Butterfly before. I definitely could see Julie Taymore's influence. Clive Owen was great. Jin Ha was amazing. It is
Don't see it if very worthwhile. See it, if you can suspend belief that this man could have been in love with this "woman" and intimate for 20 years
See it if you want to see a classic play and story from the 80's. An excellent revival.If you want to see Clive Owen.
Don't see it if you don't want to see a male full frontal nude. If this kind of stories don't make you fell or think.
See it if if you are interested in seeing a more contemporary M Butterfly. Hwang has reconceived his play. Interesting but direction is problematic.
Don't see it if you loved the original and want to relive that. You will be very disappointed!
See it if A fascinating play based on true events. An intimate story with big themes. Not as good as the original, but still well worth seeing.
Don't see it if You loved the original production and not open to seeing a new version.
See it if You are interested in this true story and how someone can truly believe something false when you want it to be true so badly.
Don't see it if You want fantastic staging. While the sets worked fine, I didn't find them attractive. I would have enjoyed it more with prettier panels.
See it if you’ve never seen this script produced before and enjoy a live Owen.
Don't see it if you’ve seen the original production and production value is important to you.
Also Ha and Owen save this production. Frankly, Taymour should be ashamed.
See it if You want an updated version of this play. More information now. Clive Owen excellent. Worth seeing just for him.
Don't see it if You want light fluff. This is not a fun play. Serious. Must pay attention. If gender issues are not your thing, stay away.
See it if you are a die-hard fan of the play or Clive Owen. Interesting use of screens to show reality's fragility.
Don't see it if you want a thrilling revival. Acting was flat and the screens used looked cheap. Very stark in color and execution. You don't like nudity.
See it if you enjoy Taymor's strong artistic sensibility. Many striking images: fascinating panels, lighting, costumes. Engrossing plot; well acted.
Don't see it if you want enlightenment. MB: some men love a dream more than reality. Breaking of 4th wall is jarring. Ending (w/makeup applicn) felt forced.
See it if You like the show. The acting was great and the theme of the show has not outdated itself.
Don't see it if You don’t like shows regarding homosexuality, slow moving stories, nudity, uncomfortable situations.
See it if You're a Clive Owen fan, you never had a chance to see the original, or you're a Julie Taymore completist.
Don't see it if You want perfect casting. Both leads are fine actors but are physically miscast.
See it if you want to see a politically charged show that deals with love and power and gender. Or you want to see Clive Owen.
Don't see it if you want a light and fun evening out. Or you don't like Clive Owen.
See it if you're open to a fascinating story with political and social relevance. A tender and surprising love story which will keep you enraptured.
Don't see it if you can't go along with theatricality or want to think too much. Or are left a little disturbed.
See it if you're a Clive Owen fan. He's the best thing here. But be warned that this has very little of Julie Taymor's signature style
Don't see it if you're expecting a riveting story or a visually stunning one. The new text doesn't always work & Julie Taymor directs without any joy/style
See it if you have never seen this play before; it is an interesting play, although the original version was more powerful. Clive Owen is perfect
Don't see it if you want to see Julie Taymor's work; here it is over done. Maybe Juan Darien and Lion King were flukes. I missed B D Wong terribly.
See it if An interesting show,preformences where very good.I liked the staging,they do tell you how he did it if you care. I liked Clive Owens
Don't see it if I liked the original show better. A pleasant,evening,I would have preferred a little more mystery