M. Butterfly

A play written by David Henry Hwang in the late 1980s, this play is a very loose re-telling of perhaps one of the most strange (and true) cases of mistaken identity this side of 1900. A French diplomat named Rene Gallimard works in China during the '60s as an advisor to the goings-on of the day where he meets and becomes enamoured with a Beijing Opera diva named Song Liling. The two hit it off, and Gallimard cheats on his wife with Song for the next twenty years, in which his relationship with Song has ups and downs such as the cultural revolution in China, the Vietnam War, an unexpected pregnancy on Song's part and Gallimard falling out of power in China only to regain some of his power as a spy for China, handling very sensitive documents out of France.

Naturally, they are eventually found out, arrested and put to trial and it is in this trial that Rene learns the hard way that there

A wonderful play that discusses the nature of gender and Asian stereotypes, this play is a very well done dark comedy that ends in a  worthy of the Puccini opera the play gets its name from.

The original Broadway production starred John Lithgow as Gallimard and BD Wong as Song.

In the early '90s, it was made into a film by David Cronenberg, starring Jeremy Irons as Gallimard and John Lone as Song.

M. Butterfly provides examples of:
"Gallimard: I asked around. No one knew anything about the Chinese opera."
 * Absence Makes the Heart Go Yonder
 * Anguished Declaration of Love : Song plays this to full effect to get Gallimard to fall for her. Later on in the play, Gallimard returns the favor.
 * Asian Baby Mama: Complete with a child with blond hair.
 * Becoming the Mask : Played around with.
 * There are also hints that, especially in the film where.
 * Black and Grey Morality: The greedy French Embassy in China up against the Chinese Communists.
 * Black Comedy : The various breakings of the fourth wall add to the humourous elements that occur within the story itself, such as the name Song chooses for her son.
 * Boy Meets Girl : Arguably how the whole story started in real life and in the play.
 * Butterfly of Death and Rebirth : In a manner of speaking. The play is based off of Puccini's "Madame Butterfly" and it ends on about the same sort of bitter note.
 * Compensating for Something : Song's interpretation of West-Meets-East gender and racial stereotypes.
 * Dead Person Conversation : Arguably, the nature of the last two words spoken in the play.
 * Dying Moment of Awesome :
 * Face Death with Dignity :
 * Fatal Attraction :
 * Foreshadowing: In the opening credits of the movie, the name John Lone tells us that the female protagonist we are about to see is actually a male.
 * Averted in the play; B. D. Wong began using his first initials in order to keep the reader doubting about his gender, and other actors who played Song followed his example.
 * Girl of My Dreams : How Gallimard views Song. He could not be more wrong.
 * Hands-On Approach
 * Handsome Devil : Though Gallimard initially describes himself as being far removed from this trope, his attitude upon entering his relationship with Song certainly shifts to that of a Handsome Devil type of character.
 * Happily Married
 * Happiness in Slavery: How Song seems to Gallimard. This isn't entirely true, but Gallimard never finds out whether it's entirely false.
 * I Can't Believe a Guy Like You Would Notice Me! : Played straight and subverted with Song and just played straight with Gallimard.
 * I Want My Beloved to Be Happy : Also played straight and subverted with Song.
 * Killed Off for Real :
 * Love At First Sight : Played around with. Gallimard is already married when he hooks up with Song.
 * Love Hurts : Gallimard and Song show different sides to this idea.
 * Love Makes You Dumb : Lampshaded by Gallimard in the end.
 * Love Martyr
 * Me Love You Long Time : Played around with and thoroughly deconstructed.
 * And discussed by Song, who brings up that while Madame Butterfly gets well-received for using this trope, an inversion with a Japanese businessman and an American cheerleader would come off as a wangsty trainwreck instead.
 * Never Suicide : Averted and how!
 * Playing Hard to Get
 * Please Wake Up : Also arguably the nature of the last two words of the play.
 * Pragmatic Adaptation: The film version. Because of the format, much of the Leaning on the Fourth Wall is taken out, meaning that less emphasis is placed on Gallimard's psyche. This forces the film to go in another direction entirely, focusing on how Song constructs her identity as Gallimard's ideal lover.
 * Villain Protagonist: Gallimard. Justified because he represents the cultural indifference of the West over the East as well as its desire to dominate the East.
 * Playing Hard to Get
 * Please Wake Up : Also arguably the nature of the last two words of the play.
 * Pragmatic Adaptation: The film version. Because of the format, much of the Leaning on the Fourth Wall is taken out, meaning that less emphasis is placed on Gallimard's psyche. This forces the film to go in another direction entirely, focusing on how Song constructs her identity as Gallimard's ideal lover.
 * Villain Protagonist: Gallimard. Justified because he represents the cultural indifference of the West over the East as well as its desire to dominate the East.