In a break with convention, this review of M. Butterfly by David Henry Hwang will start with a note from the production’s directors, Tungsten Tang and Hetty Opayinka:
‘As rehearsals for M. Butterfly progressed, both cast and crew doubted the suitability for a cisgender woman to play the role of Song Liling in 2022. The result of this has been that Charmaine Au-Young has taken the difficult decision to step down as Song and instead contribute to the production she has tirelessly worked on, as an ensemble member. Jaden Tsui will take on the role of Song Liling. We would like to stress that this was a mutual decision and not one forced upon anyone. Yet, even as we try to update this complex and heartbreaking play, we recognise that we do not have all the answers. We are reassured by the fact that our interpretation will facilitate discussion on these pertinent issues amongst our audience members.’
Naturally, a last-minute re-cast for whatever reason is always difficult, and Jaden Tsui (playing Song Liling) was holding a script on stage for much of last night’s performance. However, they carried it off impressively, still giving a sensitive and nuanced performance. The figure of Song Liling is an enigma for much of the play, containing a tension between the real person with agency and the oppressive fantasy of Song’s lover, French diplomat René Gallimard (Joe Harrington). Though the enigma is partially unravelled through Gallimard’s retelling of events, Tsui maintains an enigmatic level to the character, weaving a searing vulnerability and a hard, sardonic, edge which was compelling.