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In New York City, the character M recalls encounters with extraterrestrial life forms. Their message urges M to forget the events, warning that no one will believe the account and that speaking of it will lead to exclusion. The staged work places M within a three-dimensional holographic set, with the monologue performed over music.
A short play about the imprecision of DNA technology, presented within a program of plays exploring ancestry, identity, and confusion.
Act 1 In the Egyptian wing of a modern museum, a man and a woman touring the exhibit catch each other's eyes. A statue of Amneris, a female Pharaoh, comes to life ("Every Story Is a Love Story") and transports them to Ancient Egypt, where Radames, captain of the Egyptian army, and his men are returning from an expedition through the land of Egypt's long-time enemy, Nubia ("Fortune Favors the Brave"). When his soldiers capture a group of Nubian women, he is captivated by one of the women, Aida, who tries to free herself by out-dueling one of his soldiers. Radames orders her to wash his back, but she refuses, saying that although the Egyptians took everything from the Nubians, they will never take their spirit ("The Past Is Another Land"). Radames saves Aida's companions from the copper mines (and certain death) by sending them to the palace groundskeeper instead. He also ensures Aida serves as a handmaiden to his betrothed, Princess Amneris. Radames' father, Chief Minister Zoser, greets his son with news that the Pharaoh is dying, and Radames must prepare to become the next ruler of Egypt ("Another Pyramid"). Unbeknownst to Radames, his father is poisoning the Pharaoh in order to accelerate Radames' ascension to the throne. Radames' Nubian servant, Mereb, is a young man who has learned the tricks of survival in Egypt. While delivering Aida to the princess, Mereb recognizes her as the daughter of the Nubian king under whom he had served during his days in Nubia. She commands him to keep her identity a secret, lest the Egyptians kill her ("How I Know You"). Presented to Amneris, Aida is liked immediately, and she perceives that the Princess' love of fashion only serves as a mask of her insecurities ("My Strongest Suit"). At a banquet, Amneris and Radames learn from the Pharaoh that they are to marry in seven days, leaving the captain distraught that his days as an explorer have ended ("Fortune Favors the Brave (Reprise)"). Together, he and Aida share their dreams and regrets ("Enchantment Passing Through"). Later that night, Amneris worries about her father's illness, and finds in Aida someone who understands and encourages her ("My Strongest Suit (Reprise)"). Bursting into his fiancée's chamber, Radames steals a moment with Aida to share his growing attraction to her. Aida is taken by Mereb to the Nubian camp, where she reluctantly submits to her people's pleas to lead them ("Dance of the Robe"). When she implores Radames to help the Nubians, he opens his heart by giving his possessions to them ("Not Me") and declaring his love for Aida ("Elaborate Lives"). Unable to fight her feelings any longer, she falls into his embrace. Their bliss is interrupted by news that Radames' armies have captured Amonasro, king of Nubia and also Aida's father. Unable to comfort her, Radames leaves Aida in distress. Rallying her people, Aida assures them that Nubia will never die ("The Gods Love Nubia"). Act 2 Amneris, Radames, and Aida are entangled in conflicted loyalties and emotions ("A Step Too Far"): Amneris is afraid that Radames's affection for her is waning, Radames worries his love for Aida could end his life as he knows it, and Aida fears she might be a traitor to her people as she loves Radames. Aida and Mereb bribe their way into Amonasro's prison cell, where she is reunited with her father. Mereb hatches a plan to escape with the king during the commotion of Amneris' wedding. To save her father and her nation, Aida must betray the man she loves ("Easy as Life"). Meanwhile, Zoser discovers Radames' affair and warns his son that it could cost him the throne, but Radames no longer shares his father's ambitions ("Like Father, Like Son"). After an emotional bout with his son, Zoser orders his men to find Aida and kill her. At the Nubian camp, Aida receives a written apology from Radames for the thoughtless way he acted upon hearing of Amonasro's capture ("Radames' Letter") and for his lack of showing affection. When Egyptian soldiers arrive seeking Aida, another Nubian, Nehebka, sacrifices herself so that the princess can live. Now even more determined to leave Radames forever, Aida goes to say good-bye to him over Mereb's objections ("How I Know You (Reprise)"). Radames informs Aida that he is calling off the wedding. Aida knows that this would ruin her father's escape and tells him he must go through with it ("Written in the Stars"). Radames agrees, on condition that she escapes to freedom on a boat he will provide. The heartbroken lovers part, but Amneris has overheard their entire conversation and tries to face the fact that her upcoming marriage is a sham ("I Know the Truth"). News of Amonasro's escape disrupts Amneris' wedding. Radames learns the truth of Aida's identity when he arrives at the docks just as she is about to board his boat with her father. Although he is angry that Aida hid this from him, she says she never lied about loving him. Zoser suddenly appears and attacks, and in the ensuing chaos, Mereb is mortally wounded by Zoser, but Radames makes possible Amonasro's escape by cutting the rope tied to the dock, while Aida stays with Radames and a dying Mereb. Zoser flees, and Mereb dies in the arms of his kind master and beloved princess. Radames and Aida are then arrested for treason. At the ensuing trial, Pharaoh announces Zoser's apprehension and sentences both Aida and Radames to be buried alive. Amneris foreshadows her role as a future Pharaoh by convincing her father to let the lovers die in the same tomb, an act of mercy for two people she has come to love. Facing death, Aida looks to Radames for strength ("Elaborate Lives (Reprise)"). As they are slowly deprived of light and air ("Enchantment Passing Through (Reprise)"), Radames swears he will search through a hundred lifetimes to find her again if he has to. Back in the contemporary museum, the spirit of Amneris reveals that as she became Pharaoh, "the lovers' deaths gave birth to a reign of peace" between Egypt and Nubia. She watches as the modern man and woman are strangely drawn to each other. They are the reincarnations of Aida and Radames, finding each other in a new beginning ("Every Story is a Love Story (Reprise)").
As actress Margarita Xirgu prepares to perform in Montevideo, she recalls her friendship with Federico García Lorca and her regret at being unable to persuade him to leave Spain. In her memories, Lorca is arrested and executed by Falangists. As Xirgu dies, a vision of Lorca thanks her for preserving his spirit through her performances.
An English-language opera by Unsuk Chin and David Henry Hwang, adapting Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass. Its listed scenes include the Pool of Tears, the Mad Tea Party, the Croquet Ground, and a trial.
At the court-martial of Sgt. Aaron Marcum, Danny Chen’s mother pleads for justice as testimony prompts flashbacks to Chen’s life in New York, his enlistment, and the racist abuse he endured. Chen appears as a ghost in the courtroom; at the end, his mother sings a childhood lullaby as soldiers fold the flag and Chen salutes her.
An African-American maid working in a Chinese home in Los Angeles leads a double life.
Two businessmen recount prostitution rings in Thailand before one confesses he has contracted AIDS; the conversation is interrupted by the story of the Thai prostitute who transmitted the disease.
In an S&M parlor, a fully disguised man and woman engage in racial roleplay, confronting racial stereotypes and the roles they perform.
An American businessman arrives in a bustling Chinese province looking to score a lucrative contract for his family's sign-making firm. He soon finds that the complexities of such a venture far outstrip the expected differences in language, customs and manners – and calls into questions even the most basic assumptions of human conduct. The U.S. and China are at a critical moment in history—each nation is deeply interested in, but knows very little about the other. Chinglish was born from the many visits I’ve made to China over the past five or six years to witness the exciting changes there. During one visit, I toured a new arts center where everything was first-rate—except for the ridiculously translated English signs. It was at that moment I thought of writing this play." -David Henry Hwang, Playwright
A monk tells of a stone and a crimson pearl flower who descend to earth as Bao Yu and Dai Yu. Raised in the Jia household, they recognize their connection and fall in love. But family debts and the Emperor's political demands press Bao Yu toward marriage with Bao Chai. The household tricks him into that marriage, and imperial soldiers seize the fortunes of the Jia and Xue families. Dai Yu disappears into the lake, while Bao Yu becomes a monk and later narrates his life.
FOB is a 1980 Obie Award-winning play by American playwright David Henry Hwang. His first play, it depicts the contrasts and conflicts between established Asian Americans and "fresh off the boat" (FOB) newcomer immigrants.
A farce about East/West cultural stereotypes, Face Value examines how racial and cultural assumptions shape identity and theatrical representation.
A Los Angeles Chinese-American family across three generations confronts the clash between Eastern and Western cultural values, religion and family life.
In a present-day frame, Andrew Kwong’s dead grandmother recounts the family history of his great-grandfather, a Chinese businessman who returned home in 1918 intent on converting to Christianity and adopting Western ways. His three wives and daughter face the costs of religious and cultural change, and the story helps Andrew confront his own fears about fatherhood.
A Caucasian woman passes herself off as a minority to sell a book to a major publishing company.
The first act introduces the main character, René Gallimard, a civil servant attached to the French embassy in China. In a prison, Gallimard is serving a sentence for treason. Through a series of flashbacks and imagined conversations, Gallimard tells an audience his story about a woman that he loved and lost. He falls in love with a beautiful Chinese opera singer, Song Liling. Gallimard is unaware that all female roles in traditional Beijing opera were actually played by men, as women were banned from the stage. The first act ends with Gallimard returning to France in shame and living alone after he asks his wife, Helga, for a divorce, admitting to her that he's had a mistress. It is revealed in act 2 that Song had been acting as a spy for the Chinese government, and she is actually a man who has disguised himself as a woman to seduce Gallimard and extract information from him. They stay together for 20 years until the truth is revealed, and Gallimard is convicted of treason and imprisoned. Unable to face the fact that his "perfect woman" is a man, he retreats deep within himself and his memories. The action of the play is depicted as his disordered, distorted recollection of the events surrounding their affair. In act three, Song reveals himself to the audience as a man, without makeup and dressed in men's clothing. Gallimard claims he only loved the idea of Butterfly, never Song himself. Gallimard throws Song and his clothing off the stage, but holds onto Butterfly's kimono. In scene three, the setting returns to Gallimard's prison cell, as he puts on makeup and Butterfly's wig and kimono. Then he stabs himself, committing suicide just as Butterfly does in the opera. For the Julie Taymor–directed revival in 2017, Hwang revisited the text to incorporate further information that had emerged about the Boursicot case, and address intersectional identities. Taymor and Hwang wanted their new approach to consider “present public discussion and awareness of nonbinary genders, the growth of China as a superpower, and details about the true story... which were not available to Hwang when he wrote the first version.” Changes include: Song Liling initially presents as male to Gallimard, only to claim to be physically female but made to dress up as a man by her parents. Hwang noted in an interview that the surprise reveal that Song Liling is actually a man no longer carried the shock value it did in 1988, especially after The Crying Game used the same tactic only a few years later. Another said it “was neither a critical nor a popular success…[but] an important, timely, and productive reconsideration of the play and its story in light of new acceptances of gender fluidity and the changing balance of power between Asia and the West.” Regarding the long-debated questions of Song and Gallimard's intimate relations, another reviewer said “Song’s defiant explanation to an over-curious French judge struck me as Hwang wanting to put an end to the prying once and for all.”
Two filmmakers lament the failure of their picture and the nature of Hollywood merchandising.
A streamlined contemporary reworking of Ibsen's story of Peer Gynt, with references updated for its time and themes of selfishness and love.
The play depicts the wealthy WASP Orr family and the damage that passes from parent to child, with religious overtones.
In 2015, playwright DHH (a stand-in for the author), meets with Chinese film executive Xue Xing about adapting a Chinese film into an American-style romantic comedy musical aimed at Chinese audiences. They attend a performance of The King and I that is a fundraiser for Hillary Clinton's presidential campaign alongside Xing's American girlfriend Zoe, where Xing briefly meets Clinton. DHH's efforts to adapt the film, the title of which roughly translates to "Stick With Your Mistake", are complicated by what he sees as different values between American and Chinese culture: he takes umbrage with the ending where the hero returns to an unhappy marriage instead of following his heart, and feels that with the upcoming 2016 election and belief that Hillary Clinton will become President, he needs to write a musical where dreams are fulfilled and freedom flourishes. His view on the matter changes when Clinton loses the election to "the other candidate", and Xue Xing suggests suspending the project in the aftermath. Shortly after, DHH is stabbed in the neck in an apparent hate crime. On the surgery table, he has a hallucinatory vision of a musical retelling of Xue Xing's trip to America, where he meets and falls in love with Hillary Clinton, as written by a Chinese author 50 years in the future. The musical imagines a future where America has lost its soft power, and many of the details about America are "as hilariously inexact as most Western stories set in Asia". For example, Xing travels to the "Hollywood Airport" and Hillary performs a number while revealing a Wonder Woman outfit in a glitzy McDonald's. Most of the "white" roles are played by Asian actors in whiteface and incorrect accents, a reversal of the movie version of The King and I. The musical also examines the nature of democracy, cultural identity, appropriation and racism.
A paired bill of two one-act plays: The House of Sleeping Beauties follows a narrator investigating the brothel that inspired a novella, while The Sound of a Voice is a ghost story inspired by Japanese films and folk tales.
Off the West African coast, a young English couple and their newborn son barely survive a shipwreck and land in Africa. They construct a tree house for their son before being killed by a leopard named Sabor. In the African Jungle, Kerchak, the leader of a tribe of gorillas admires his new infant son with his mate, Kala ("Two Worlds"). Sabor suddenly appears and kidnaps the newborn baby gorilla. Kala goes off to find her son but finds the human boy instead and names him Tarzan. She mothers him and raises him despite Kerchak's refusal to treat Tarzan as his son ("You'll Be In My Heart"). As a young child, Tarzan finds that he cannot keep up with the tribe, while Kerchak views him as a threat. Despite this, Tarzan is befriended by the lighthearted Terk, a young gorilla who teaches him the ways of the gorillas ("Who Better Than Me"). However, Kerchak finds Tarzan constructing a spear, and assuming he intends to hurt the gorillas, he holds Kala accountable ("No Other Way"). Kala worries for him and goes off to find him. She discovers him despairing by the water's edge ("I Need To Know"). Kala tells him that even though they look different, underneath the skin, they are just the same, reigniting Tarzan's desire to become the best ape ever. Years pass, and Tarzan grows into a young man, athletic and resourceful ("Son of Man"), accepted by many of the gorillas as one of their own, except for Kerchak. Kala tries to convince Kerchak to accept Tarzan ("Sure As Sun Turns To Moon"). Kerchak won't change his mind until Tarzan kills Sabor to avenge his parents and prevent him from terrorizing the tribe any longer. Suddenly, gunshots are heard throughout the jungle, causing the tribe to scatter while Tarzan investigates what scared them away. Deep in the jungle, Jane Porter, a young English naturalist, is overwhelmed by the thrillingly diverse jungle life ("Waiting For This Moment"). While exploring, she is attacked by a giant spider but is rescued by Tarzan. Tarzan and Jane carefully assess each other as they realize their similar qualities ("Different"). At the Porter expedition site, Terk and the other gorillas discover the site and all of its unique features, and do some redecorating ("Trashin' The Camp"). Jane returns to the site with Tarzan, and she is thrilled by the tribe of gorillas. Kerchak arrives and scares the gorillas off. Jane tries to convince her father, Professor Porter, and their guide, Clayton, that she discovered a wild man and a tribe of apes. Kerchak forbids contact with the humans, but Tarzan and Jane grow to love each other and Jane tells her father more about the wild ape man ("Like No Man I've Ever Seen"). Tarzan soon visits the humans and becomes properly acquainted with them, especially Jane, though Clayton becomes jealous of their love. Jane tries to teach Tarzan more about humans and human life, while Tarzan shows her his jungle world, too ("Strangers Like Me"); all the while, Jane tries to cope with her emotions ("For The First Time"). She tries to tell her father to stop Clayton's plans of killing the gorillas, but Clayton, wanting to achieve his goal, tricks Tarzan into taking the humans to the gorilla nesting grounds. Tarzan asks Terk to help him by keeping Kerchak away, and Terk agrees ("Who Better Than Me (Reprise)"). As Tarzan shows the humans his gorilla family, Kerchak arrives anyway, scattering the humans and demanding that Tarzan choose who he is. Realizing her son is torn between his loyalty to his gorilla family and his need to be with humans, Kala shows Tarzan the treehouse his parents built and he discovers all of their belongings ("Everything That I Am"). He decides to go to England with Jane and live as a human and he tells Kala his decision ("You'll Be In My Heart (Reprise)"). Tarzan approaches Jane and Porter, announcing his intention to leave the jungle and be with Jane. At the same time, however, Clayton seizes the opportunity to capture the gorillas once and for all, and manages to shoot Kerchak, fatally wounding the gorilla leader. Tarzan rushes back at the sound of the gunshot and fights Clayton, nearly killing him until Porter convinces him to spare his life so they can handle Clayton in a less violent way; Clayton is soon arrested and sent back to the ship to await punishment back in England for his actions. Tarzan rushes to Kerchak, but he has already died from his wounds, and Kala and Tarzan mourn for Kerchak's demise ("Sure As Sun Turns To Moon (Reprise)"). At the beach, Jane and Porter are about to leave on their ship to return to England, until Jane realizes that she loves Tarzan and, with Porter's blessing, decides to stay with him in the jungle. Tarzan, having become the new leader of the gorillas, arrives to say goodbye to them, until Jane returns, and they share a kiss. Tarzan and Jane swing off towards their new home, planning to spend the rest of their lives together ("Two Worlds (Reprise)").
Set in the mid-19th-century American West, the play depicts a strike in a Chinese railroad labor camp.
A two-act English-language opera adapted loosely from David Cronenberg’s 1986 science-fiction film, with roles for scientist Seth Brundle, journalist Veronica Quaife, editor Stathis Borans, and others.
Two women debate which of them will be chosen to spend a night with Chairman Mao Zedong.
A fictionalized portrait imagines how Japanese novelist Yasunari Kawabata might have come to write his novella The House of the Sleeping Beauties.
The Jade Emperor dreams of darkness overtaking heaven and earth, then sees it happen when the Cowherd falls in love with the Goddess-Weaver. Her distraction from weaving the stars darkens the sky, so her father separates the lovers with the Silver River. Their grief brings chaos until he permits them to meet once each year.
A samurai accepts shelter from a mysterious woman in an isolated woodland house. As their intimacy grows, his suspicion that she is a witch clashes with his attraction to her and his fear of her greater abilities.
A two-part chamber opera comprising The Sound of a Voice and Hotel of Dreams, composed by Philip Glass with libretto by David Henry Hwang. The stories are not described in the available account.
A scientist reflects on exploration, and a spacecraft crew crash-lands on an ice-age Earth. In 1492, Columbus sails west, while a later act in 2092 follows astronomers and archaeologists who rediscover crystals from the crashed spacecraft and launch a mission to its home planet. The epilogue shows Columbus dying in 1506, accompanied by Isabella.
A theatrical adaptation of Peter Sis's children's book, following a boy growing up in Prague through the 1950s.
An Asian street musician challenges a white man who claims Asian-American identity as they meet in Chinatown. The musician does not know that the man was adopted by Asian-American parents and is visiting his deceased father's birthplace.
Yellow Face opens with DHH receiving an e-mail from Marcus G. Dahlman in 2006 about his recent travels in China. DHH reflects on how Marcus disappeared from the public eye. He begins in 1990 with the controversy over the casting of Jonathan Pryce, a Welsh actor, in an Asian role in Miss Saigon as the musical transfers from London to New York City. Although DHH receives a lot of publicity about his protests against the casting and yellow face makeup, especially as the first Asian-American playwright to win a Tony Award (for M. Butterfly), the production of Miss Saigon ultimately continues without changes to the cast. DHH then writes the play Face Value, based partly on the Miss Saigon controversy, and casts Marcus G. Dahlman as one of the lead Asian roles in his play. DHH is at first convinced that Marcus is part Asian but eventually realizes he is fully white. DHH fears he will appear hypocritical for the casting after his protest of yellow face, but is unable to fire Marcus on the basis of his race. DHH has him adopt the name "Marcus Gee" and tells the public that Marcus has Eurasian ancestry as a Jew with Siberian ancestry. Though their deception is successful, Face Value receives negative reviews and closes in previews, losing $2 million. DHH tries to move on, but he later discovers that Marcus has continued playing his role as an Asian in all parts of his life, acting in Asian roles and becoming an activist for Asian American rights. This angers DHH, who views him as an "ethnic tourist". The play further explores DHH's relationship to his father, HYH, and the relationship of the Chinese American community to America. HYH is a successful immigrant who built the Far East National Bank in California. After contributing monetarily to political campaigns, he and others affiliated with the bank, including Wen Ho Lee, are investigated by Senator Fred Thompson, who believes they are funneling money from China to influence American politics. In the course of this, DHH and Marcus are implicated as Chinese collaborators. DHH beseeches Marcus to reveal his true identity as white, deciding he cares more about defending the Chinese American community than hiding his mistakes. Marcus ends his deception, and Thompson's investigation breaks down. DHH's father dies in 2005, having lost faith in the American Dream. DHH and Marcus converse after their e-mails, before DHH admits to the audience that Marcus is an entirely fictional character he created to explore messy questions about race and nationality. At the character’s request, DHH writes Marcus a "happy ending" in which he moves to a small village in China and is eventually accepted into the community there.
In New York City, the character M recalls encounters with extraterrestrial life forms. Their message urges M to forget the events, warning that no one will believe the account and that speaking of it will lead to exclusion. The staged work places M within a three-dimensional holographic set, with the monologue performed over music.
A short play about the imprecision of DNA technology, presented within a program of plays exploring ancestry, identity, and confusion.
Act 1 In the Egyptian wing of a modern museum, a man and a woman touring the exhibit catch each other's eyes. A statue of Amneris, a female Pharaoh, comes to life ("Every Story Is a Love Story") and transports them to Ancient Egypt, where Radames, captain of the Egyptian army, and his men are returning from an expedition through the land of Egypt's long-time enemy, Nubia ("Fortune Favors the Brave"). When his soldiers capture a group of Nubian women, he is captivated by one of the women, Aida, who tries to free herself by out-dueling one of his soldiers. Radames orders her to wash his back, but she refuses, saying that although the Egyptians took everything from the Nubians, they will never take their spirit ("The Past Is Another Land"). Radames saves Aida's companions from the copper mines (and certain death) by sending them to the palace groundskeeper instead. He also ensures Aida serves as a handmaiden to his betrothed, Princess Amneris. Radames' father, Chief Minister Zoser, greets his son with news that the Pharaoh is dying, and Radames must prepare to become the next ruler of Egypt ("Another Pyramid"). Unbeknownst to Radames, his father is poisoning the Pharaoh in order to accelerate Radames' ascension to the throne. Radames' Nubian servant, Mereb, is a young man who has learned the tricks of survival in Egypt. While delivering Aida to the princess, Mereb recognizes her as the daughter of the Nubian king under whom he had served during his days in Nubia. She commands him to keep her identity a secret, lest the Egyptians kill her ("How I Know You"). Presented to Amneris, Aida is liked immediately, and she perceives that the Princess' love of fashion only serves as a mask of her insecurities ("My Strongest Suit"). At a banquet, Amneris and Radames learn from the Pharaoh that they are to marry in seven days, leaving the captain distraught that his days as an explorer have ended ("Fortune Favors the Brave (Reprise)"). Together, he and Aida share their dreams and regrets ("Enchantment Passing Through"). Later that night, Amneris worries about her father's illness, and finds in Aida someone who understands and encourages her ("My Strongest Suit (Reprise)"). Bursting into his fiancée's chamber, Radames steals a moment with Aida to share his growing attraction to her. Aida is taken by Mereb to the Nubian camp, where she reluctantly submits to her people's pleas to lead them ("Dance of the Robe"). When she implores Radames to help the Nubians, he opens his heart by giving his possessions to them ("Not Me") and declaring his love for Aida ("Elaborate Lives"). Unable to fight her feelings any longer, she falls into his embrace. Their bliss is interrupted by news that Radames' armies have captured Amonasro, king of Nubia and also Aida's father. Unable to comfort her, Radames leaves Aida in distress. Rallying her people, Aida assures them that Nubia will never die ("The Gods Love Nubia"). Act 2 Amneris, Radames, and Aida are entangled in conflicted loyalties and emotions ("A Step Too Far"): Amneris is afraid that Radames's affection for her is waning, Radames worries his love for Aida could end his life as he knows it, and Aida fears she might be a traitor to her people as she loves Radames. Aida and Mereb bribe their way into Amonasro's prison cell, where she is reunited with her father. Mereb hatches a plan to escape with the king during the commotion of Amneris' wedding. To save her father and her nation, Aida must betray the man she loves ("Easy as Life"). Meanwhile, Zoser discovers Radames' affair and warns his son that it could cost him the throne, but Radames no longer shares his father's ambitions ("Like Father, Like Son"). After an emotional bout with his son, Zoser orders his men to find Aida and kill her. At the Nubian camp, Aida receives a written apology from Radames for the thoughtless way he acted upon hearing of Amonasro's capture ("Radames' Letter") and for his lack of showing affection. When Egyptian soldiers arrive seeking Aida, another Nubian, Nehebka, sacrifices herself so that the princess can live. Now even more determined to leave Radames forever, Aida goes to say good-bye to him over Mereb's objections ("How I Know You (Reprise)"). Radames informs Aida that he is calling off the wedding. Aida knows that this would ruin her father's escape and tells him he must go through with it ("Written in the Stars"). Radames agrees, on condition that she escapes to freedom on a boat he will provide. The heartbroken lovers part, but Amneris has overheard their entire conversation and tries to face the fact that her upcoming marriage is a sham ("I Know the Truth"). News of Amonasro's escape disrupts Amneris' wedding. Radames learns the truth of Aida's identity when he arrives at the docks just as she is about to board his boat with her father. Although he is angry that Aida hid this from him, she says she never lied about loving him. Zoser suddenly appears and attacks, and in the ensuing chaos, Mereb is mortally wounded by Zoser, but Radames makes possible Amonasro's escape by cutting the rope tied to the dock, while Aida stays with Radames and a dying Mereb. Zoser flees, and Mereb dies in the arms of his kind master and beloved princess. Radames and Aida are then arrested for treason. At the ensuing trial, Pharaoh announces Zoser's apprehension and sentences both Aida and Radames to be buried alive. Amneris foreshadows her role as a future Pharaoh by convincing her father to let the lovers die in the same tomb, an act of mercy for two people she has come to love. Facing death, Aida looks to Radames for strength ("Elaborate Lives (Reprise)"). As they are slowly deprived of light and air ("Enchantment Passing Through (Reprise)"), Radames swears he will search through a hundred lifetimes to find her again if he has to. Back in the contemporary museum, the spirit of Amneris reveals that as she became Pharaoh, "the lovers' deaths gave birth to a reign of peace" between Egypt and Nubia. She watches as the modern man and woman are strangely drawn to each other. They are the reincarnations of Aida and Radames, finding each other in a new beginning ("Every Story is a Love Story (Reprise)").
As actress Margarita Xirgu prepares to perform in Montevideo, she recalls her friendship with Federico García Lorca and her regret at being unable to persuade him to leave Spain. In her memories, Lorca is arrested and executed by Falangists. As Xirgu dies, a vision of Lorca thanks her for preserving his spirit through her performances.
An English-language opera by Unsuk Chin and David Henry Hwang, adapting Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass. Its listed scenes include the Pool of Tears, the Mad Tea Party, the Croquet Ground, and a trial.
At the court-martial of Sgt. Aaron Marcum, Danny Chen’s mother pleads for justice as testimony prompts flashbacks to Chen’s life in New York, his enlistment, and the racist abuse he endured. Chen appears as a ghost in the courtroom; at the end, his mother sings a childhood lullaby as soldiers fold the flag and Chen salutes her.
An African-American maid working in a Chinese home in Los Angeles leads a double life.
Two businessmen recount prostitution rings in Thailand before one confesses he has contracted AIDS; the conversation is interrupted by the story of the Thai prostitute who transmitted the disease.
In an S&M parlor, a fully disguised man and woman engage in racial roleplay, confronting racial stereotypes and the roles they perform.
An American businessman arrives in a bustling Chinese province looking to score a lucrative contract for his family's sign-making firm. He soon finds that the complexities of such a venture far outstrip the expected differences in language, customs and manners – and calls into questions even the most basic assumptions of human conduct. The U.S. and China are at a critical moment in history—each nation is deeply interested in, but knows very little about the other. Chinglish was born from the many visits I’ve made to China over the past five or six years to witness the exciting changes there. During one visit, I toured a new arts center where everything was first-rate—except for the ridiculously translated English signs. It was at that moment I thought of writing this play." -David Henry Hwang, Playwright
A monk tells of a stone and a crimson pearl flower who descend to earth as Bao Yu and Dai Yu. Raised in the Jia household, they recognize their connection and fall in love. But family debts and the Emperor's political demands press Bao Yu toward marriage with Bao Chai. The household tricks him into that marriage, and imperial soldiers seize the fortunes of the Jia and Xue families. Dai Yu disappears into the lake, while Bao Yu becomes a monk and later narrates his life.
FOB is a 1980 Obie Award-winning play by American playwright David Henry Hwang. His first play, it depicts the contrasts and conflicts between established Asian Americans and "fresh off the boat" (FOB) newcomer immigrants.
A farce about East/West cultural stereotypes, Face Value examines how racial and cultural assumptions shape identity and theatrical representation.
A Los Angeles Chinese-American family across three generations confronts the clash between Eastern and Western cultural values, religion and family life.
In a present-day frame, Andrew Kwong’s dead grandmother recounts the family history of his great-grandfather, a Chinese businessman who returned home in 1918 intent on converting to Christianity and adopting Western ways. His three wives and daughter face the costs of religious and cultural change, and the story helps Andrew confront his own fears about fatherhood.
A Caucasian woman passes herself off as a minority to sell a book to a major publishing company.
The first act introduces the main character, René Gallimard, a civil servant attached to the French embassy in China. In a prison, Gallimard is serving a sentence for treason. Through a series of flashbacks and imagined conversations, Gallimard tells an audience his story about a woman that he loved and lost. He falls in love with a beautiful Chinese opera singer, Song Liling. Gallimard is unaware that all female roles in traditional Beijing opera were actually played by men, as women were banned from the stage. The first act ends with Gallimard returning to France in shame and living alone after he asks his wife, Helga, for a divorce, admitting to her that he's had a mistress. It is revealed in act 2 that Song had been acting as a spy for the Chinese government, and she is actually a man who has disguised himself as a woman to seduce Gallimard and extract information from him. They stay together for 20 years until the truth is revealed, and Gallimard is convicted of treason and imprisoned. Unable to face the fact that his "perfect woman" is a man, he retreats deep within himself and his memories. The action of the play is depicted as his disordered, distorted recollection of the events surrounding their affair. In act three, Song reveals himself to the audience as a man, without makeup and dressed in men's clothing. Gallimard claims he only loved the idea of Butterfly, never Song himself. Gallimard throws Song and his clothing off the stage, but holds onto Butterfly's kimono. In scene three, the setting returns to Gallimard's prison cell, as he puts on makeup and Butterfly's wig and kimono. Then he stabs himself, committing suicide just as Butterfly does in the opera. For the Julie Taymor–directed revival in 2017, Hwang revisited the text to incorporate further information that had emerged about the Boursicot case, and address intersectional identities. Taymor and Hwang wanted their new approach to consider “present public discussion and awareness of nonbinary genders, the growth of China as a superpower, and details about the true story... which were not available to Hwang when he wrote the first version.” Changes include: Song Liling initially presents as male to Gallimard, only to claim to be physically female but made to dress up as a man by her parents. Hwang noted in an interview that the surprise reveal that Song Liling is actually a man no longer carried the shock value it did in 1988, especially after The Crying Game used the same tactic only a few years later. Another said it “was neither a critical nor a popular success…[but] an important, timely, and productive reconsideration of the play and its story in light of new acceptances of gender fluidity and the changing balance of power between Asia and the West.” Regarding the long-debated questions of Song and Gallimard's intimate relations, another reviewer said “Song’s defiant explanation to an over-curious French judge struck me as Hwang wanting to put an end to the prying once and for all.”
Two filmmakers lament the failure of their picture and the nature of Hollywood merchandising.
A streamlined contemporary reworking of Ibsen's story of Peer Gynt, with references updated for its time and themes of selfishness and love.
The play depicts the wealthy WASP Orr family and the damage that passes from parent to child, with religious overtones.
In 2015, playwright DHH (a stand-in for the author), meets with Chinese film executive Xue Xing about adapting a Chinese film into an American-style romantic comedy musical aimed at Chinese audiences. They attend a performance of The King and I that is a fundraiser for Hillary Clinton's presidential campaign alongside Xing's American girlfriend Zoe, where Xing briefly meets Clinton. DHH's efforts to adapt the film, the title of which roughly translates to "Stick With Your Mistake", are complicated by what he sees as different values between American and Chinese culture: he takes umbrage with the ending where the hero returns to an unhappy marriage instead of following his heart, and feels that with the upcoming 2016 election and belief that Hillary Clinton will become President, he needs to write a musical where dreams are fulfilled and freedom flourishes. His view on the matter changes when Clinton loses the election to "the other candidate", and Xue Xing suggests suspending the project in the aftermath. Shortly after, DHH is stabbed in the neck in an apparent hate crime. On the surgery table, he has a hallucinatory vision of a musical retelling of Xue Xing's trip to America, where he meets and falls in love with Hillary Clinton, as written by a Chinese author 50 years in the future. The musical imagines a future where America has lost its soft power, and many of the details about America are "as hilariously inexact as most Western stories set in Asia". For example, Xing travels to the "Hollywood Airport" and Hillary performs a number while revealing a Wonder Woman outfit in a glitzy McDonald's. Most of the "white" roles are played by Asian actors in whiteface and incorrect accents, a reversal of the movie version of The King and I. The musical also examines the nature of democracy, cultural identity, appropriation and racism.
A paired bill of two one-act plays: The House of Sleeping Beauties follows a narrator investigating the brothel that inspired a novella, while The Sound of a Voice is a ghost story inspired by Japanese films and folk tales.
Off the West African coast, a young English couple and their newborn son barely survive a shipwreck and land in Africa. They construct a tree house for their son before being killed by a leopard named Sabor. In the African Jungle, Kerchak, the leader of a tribe of gorillas admires his new infant son with his mate, Kala ("Two Worlds"). Sabor suddenly appears and kidnaps the newborn baby gorilla. Kala goes off to find her son but finds the human boy instead and names him Tarzan. She mothers him and raises him despite Kerchak's refusal to treat Tarzan as his son ("You'll Be In My Heart"). As a young child, Tarzan finds that he cannot keep up with the tribe, while Kerchak views him as a threat. Despite this, Tarzan is befriended by the lighthearted Terk, a young gorilla who teaches him the ways of the gorillas ("Who Better Than Me"). However, Kerchak finds Tarzan constructing a spear, and assuming he intends to hurt the gorillas, he holds Kala accountable ("No Other Way"). Kala worries for him and goes off to find him. She discovers him despairing by the water's edge ("I Need To Know"). Kala tells him that even though they look different, underneath the skin, they are just the same, reigniting Tarzan's desire to become the best ape ever. Years pass, and Tarzan grows into a young man, athletic and resourceful ("Son of Man"), accepted by many of the gorillas as one of their own, except for Kerchak. Kala tries to convince Kerchak to accept Tarzan ("Sure As Sun Turns To Moon"). Kerchak won't change his mind until Tarzan kills Sabor to avenge his parents and prevent him from terrorizing the tribe any longer. Suddenly, gunshots are heard throughout the jungle, causing the tribe to scatter while Tarzan investigates what scared them away. Deep in the jungle, Jane Porter, a young English naturalist, is overwhelmed by the thrillingly diverse jungle life ("Waiting For This Moment"). While exploring, she is attacked by a giant spider but is rescued by Tarzan. Tarzan and Jane carefully assess each other as they realize their similar qualities ("Different"). At the Porter expedition site, Terk and the other gorillas discover the site and all of its unique features, and do some redecorating ("Trashin' The Camp"). Jane returns to the site with Tarzan, and she is thrilled by the tribe of gorillas. Kerchak arrives and scares the gorillas off. Jane tries to convince her father, Professor Porter, and their guide, Clayton, that she discovered a wild man and a tribe of apes. Kerchak forbids contact with the humans, but Tarzan and Jane grow to love each other and Jane tells her father more about the wild ape man ("Like No Man I've Ever Seen"). Tarzan soon visits the humans and becomes properly acquainted with them, especially Jane, though Clayton becomes jealous of their love. Jane tries to teach Tarzan more about humans and human life, while Tarzan shows her his jungle world, too ("Strangers Like Me"); all the while, Jane tries to cope with her emotions ("For The First Time"). She tries to tell her father to stop Clayton's plans of killing the gorillas, but Clayton, wanting to achieve his goal, tricks Tarzan into taking the humans to the gorilla nesting grounds. Tarzan asks Terk to help him by keeping Kerchak away, and Terk agrees ("Who Better Than Me (Reprise)"). As Tarzan shows the humans his gorilla family, Kerchak arrives anyway, scattering the humans and demanding that Tarzan choose who he is. Realizing her son is torn between his loyalty to his gorilla family and his need to be with humans, Kala shows Tarzan the treehouse his parents built and he discovers all of their belongings ("Everything That I Am"). He decides to go to England with Jane and live as a human and he tells Kala his decision ("You'll Be In My Heart (Reprise)"). Tarzan approaches Jane and Porter, announcing his intention to leave the jungle and be with Jane. At the same time, however, Clayton seizes the opportunity to capture the gorillas once and for all, and manages to shoot Kerchak, fatally wounding the gorilla leader. Tarzan rushes back at the sound of the gunshot and fights Clayton, nearly killing him until Porter convinces him to spare his life so they can handle Clayton in a less violent way; Clayton is soon arrested and sent back to the ship to await punishment back in England for his actions. Tarzan rushes to Kerchak, but he has already died from his wounds, and Kala and Tarzan mourn for Kerchak's demise ("Sure As Sun Turns To Moon (Reprise)"). At the beach, Jane and Porter are about to leave on their ship to return to England, until Jane realizes that she loves Tarzan and, with Porter's blessing, decides to stay with him in the jungle. Tarzan, having become the new leader of the gorillas, arrives to say goodbye to them, until Jane returns, and they share a kiss. Tarzan and Jane swing off towards their new home, planning to spend the rest of their lives together ("Two Worlds (Reprise)").
Set in the mid-19th-century American West, the play depicts a strike in a Chinese railroad labor camp.
A two-act English-language opera adapted loosely from David Cronenberg’s 1986 science-fiction film, with roles for scientist Seth Brundle, journalist Veronica Quaife, editor Stathis Borans, and others.
Two women debate which of them will be chosen to spend a night with Chairman Mao Zedong.
A fictionalized portrait imagines how Japanese novelist Yasunari Kawabata might have come to write his novella The House of the Sleeping Beauties.
The Jade Emperor dreams of darkness overtaking heaven and earth, then sees it happen when the Cowherd falls in love with the Goddess-Weaver. Her distraction from weaving the stars darkens the sky, so her father separates the lovers with the Silver River. Their grief brings chaos until he permits them to meet once each year.
A samurai accepts shelter from a mysterious woman in an isolated woodland house. As their intimacy grows, his suspicion that she is a witch clashes with his attraction to her and his fear of her greater abilities.
A two-part chamber opera comprising The Sound of a Voice and Hotel of Dreams, composed by Philip Glass with libretto by David Henry Hwang. The stories are not described in the available account.
A scientist reflects on exploration, and a spacecraft crew crash-lands on an ice-age Earth. In 1492, Columbus sails west, while a later act in 2092 follows astronomers and archaeologists who rediscover crystals from the crashed spacecraft and launch a mission to its home planet. The epilogue shows Columbus dying in 1506, accompanied by Isabella.
A theatrical adaptation of Peter Sis's children's book, following a boy growing up in Prague through the 1950s.
An Asian street musician challenges a white man who claims Asian-American identity as they meet in Chinatown. The musician does not know that the man was adopted by Asian-American parents and is visiting his deceased father's birthplace.
Yellow Face opens with DHH receiving an e-mail from Marcus G. Dahlman in 2006 about his recent travels in China. DHH reflects on how Marcus disappeared from the public eye. He begins in 1990 with the controversy over the casting of Jonathan Pryce, a Welsh actor, in an Asian role in Miss Saigon as the musical transfers from London to New York City. Although DHH receives a lot of publicity about his protests against the casting and yellow face makeup, especially as the first Asian-American playwright to win a Tony Award (for M. Butterfly), the production of Miss Saigon ultimately continues without changes to the cast. DHH then writes the play Face Value, based partly on the Miss Saigon controversy, and casts Marcus G. Dahlman as one of the lead Asian roles in his play. DHH is at first convinced that Marcus is part Asian but eventually realizes he is fully white. DHH fears he will appear hypocritical for the casting after his protest of yellow face, but is unable to fire Marcus on the basis of his race. DHH has him adopt the name "Marcus Gee" and tells the public that Marcus has Eurasian ancestry as a Jew with Siberian ancestry. Though their deception is successful, Face Value receives negative reviews and closes in previews, losing $2 million. DHH tries to move on, but he later discovers that Marcus has continued playing his role as an Asian in all parts of his life, acting in Asian roles and becoming an activist for Asian American rights. This angers DHH, who views him as an "ethnic tourist". The play further explores DHH's relationship to his father, HYH, and the relationship of the Chinese American community to America. HYH is a successful immigrant who built the Far East National Bank in California. After contributing monetarily to political campaigns, he and others affiliated with the bank, including Wen Ho Lee, are investigated by Senator Fred Thompson, who believes they are funneling money from China to influence American politics. In the course of this, DHH and Marcus are implicated as Chinese collaborators. DHH beseeches Marcus to reveal his true identity as white, deciding he cares more about defending the Chinese American community than hiding his mistakes. Marcus ends his deception, and Thompson's investigation breaks down. DHH's father dies in 2005, having lost faith in the American Dream. DHH and Marcus converse after their e-mails, before DHH admits to the audience that Marcus is an entirely fictional character he created to explore messy questions about race and nationality. At the character’s request, DHH writes Marcus a "happy ending" in which he moves to a small village in China and is eventually accepted into the community there.