& #x 201C; AMAJORPLAYWRIGHT ... OnemustbegratefulthataplayofthisambitionhasmadeittoBroadway. & #x 201D;

& #x 2014; NewYorkTimes

& #x 201C; PlaywrightDavidHenryHwanghassomething tosayandanoriginal, audaciouswayofsayingit. & #x 201D;

& #x 2014; WallStreetJournal

& #x 201C; AMANY-SPLENDOREDTHEATRICALTREASURE. ATHRILLINGDRAMA.ASENSATIONALREAL-LIFESTORYOFLOVEANDTREACHERY. & #x 201D; & #x 2014; UPI

DAVID HENRY HWANG, the child of first-generation Chinese Americans, hasemerged as one of the brightest young dramatists of this decade.His initially play, FOB, originallystagedatStanfordUniversityduringhissenioryear, waspresentedina modified type in1980at theNewYorkShakespeareFestival & #x 2019; sPublicTheater.Sincethen, hehashadnumerousplaysstaged, includingthepowerfulandpoignantM.Butterfly, for which he was granted the 1988 TonyAward for Finest Play, theOuterCriticsCircleDramaAwardandtheDramaDeskAwardforBestNewPlay.DavidHenryHwanghasalsocollaboratedwithcomposerPhilipGlassonasciencefictionmusicaldramaentitled1000AirplanesontheRoof.ToOphelia PLUMEPublishedbythePenguinGroup & #xB 7; PenguinGroup(U.S.A.)Inc.,375 HudsonStreet, NewYork, New York10014, U.S.A. & #xB 7; PenguinGroup(Canada),90 EglintonAvenueEast, Suite700, Toronto, Ontario, CanadaM4P2Y3


(adivisionofPearsonPenguinCanadaInc.)& #xB 7; PenguinBooksLtd.,80 Hair, LondonWC2RORL, England & #xB 7; PenguinIreland

,25 St.Stephen & #x 2019; sGreen, Dublin2, Ireland(adivisionofPenguinBooksLtd.)& #xB 7; PenguinGroup(Australia)·,250 CamberwellRoad,

Camberwell, Victoria3124, Australia(adivisionofPearsonAustraliaGroupPty.Ltd.)& #xB 7; PenguinBooksIndiaPvt.Ltd.,11CommunityCentre,PanchsheelPark,NewDelhi-110017, India & #xB 7; PenguinGroup(NZ),67 ApolloDrive, Rosedale,·NorthShore0632, NewZealand(adivisionofPearsonNewZealandLtd.)& #xB 7; PenguinBooks(South Africa)(Pty.)Ltd.,24 SturdeeAvenue, Rosebank, Johannesburg2196, SouthAfricaPenguinBooksLtd., RegisteredOffices:80 Hair, LondonWC2RORL, England PublishedbyPlume, amemberofPenguinGroup(U.S.A.)Inc.M.Butterflywaspreviouslypublished, initsentirety, inAmericanTheatremagazine.FirstPlumePrinting, March1989 Writers & ArtistsAgency,70 West36thStreet, # 501, NewYork, NY10018.REGISTEREDTRADEMARK & #x 2014; MARCAREGISTRADA LIBRARYOFCONGRESSCATALOGING-IN-PUBLICATIONDATAHwang, DavidHenry,1957-M.Butterfly/ byDavidHenryHwang: withanafterwordbytheplaywright.I.Title.PS3558.W83M21989 812 & #x 2019;.54 & #x 2014; dc1988-29040

abovepublisherofthisbook.PUBLISHER & #x 2019;

SNOTE Thescanning, publishing, anddistributionofthisbookviatheInternetorviaanyothermeanswithoutthepermissionofthepublisherisillegalandpunishablebylaw.Pleasepurchaseonlyauthorizedelectroniceditions, BOOKSAREAVAILABLEATQUANTITYDISCOUNTSWHENUSEDTOPROMOTEPRODUCTSORSERVICES.FORINFORMATIONPLEASEWRITETOPREMIUMMARKETINGDIVISION, PENGUIN TEAM(United States)INC.,375 HUDSONSTREET, NEWYORK, NEWYORK10014.http:// us.penguingroup.com http://us.penguingroup.com!.?.!M.Butterfly, provided by StuartOstrow andDavidGeffen, and also routed by JohnDexter,


premiered on February 10, 1988, at the National Theater inWashington, D.C., andopenedonBroadwayMarch20,1988, attheEugeneO & #x 2018; NeillTheatre.M.Butterflywonthe1988Tonyforbestplay, theOuterCriticsCircleAwardforbestBroadway play, the JohnGassner Honor
for ideal American play, as well as the

DramaDeskAwardforbestnewplay.Ithadthefollowingcast: SceneryandCostumes: EikoIshiokaLighting: AndyPhillipsHair: PhyllisDellaMusic: GiacomoPuccini, LuciaHwongCasting: MegSimon, FranKuminProductionStageManager: BobBorodPekingOperaConsultants: JamieH.J.Guan & MichelleEhlersMusicalDirectorandLute: LuciaHwongPercussion, Shakuhachi, andGuitar: YukioTsujiViolinandPercussion: JasonHwangMusicalCoordinator:

JohnMiller Dramatist & #x 2019; sNotes & #x 201C; AformerFrenchdiplomatandaChineseoperasingerhavebeensentencedtosixyearsinjailfor snooping forChina after a two-day test that mapped a tale of private love andmistakensexual identification ... Mr.Bouriscotwasaccusedofpassing informationtoChinaafterhefell in lovewithMr.Shi, whomhebelievedfortwentyyearstobeawoman


. & #x 201D; & #x 2014; TheNewYorkTimes, May11,1986 Thisplaywassuggestedbyinternationalnewspaperaccountsofarecentespionagetrial.Forpurposesofdramatization, nameshavebeenchanged, characterscreated, andincidentsdevisedoraltered, andthisplaydoesnotpurporttobeafactualrecordofrealeventsorrealpeople. & #x 201C; IcouldescapethisfeelingWithmyChinagirl ...

& #x 201D; & #x 2014; DavidBowie & IggyPop

Establishing The activity of the play happens in a Paris jail in the here and now, and also in recall, duringthedecade1960to1970inBeijing, andfrom1966tothepresentinParis.scene1 M.Gallimard & #x 2019; sprisoncell.Paris.Present.Lights discolor approximately expose Rene Gallimard, 65, in a jail cell. He puts on acomfortablebathrobe, andlooksoldandtired.Thesparselyfurnishedcellcontainsawoodencrateuponwhichsitsahotplatewithakettle, andaportabletaperecorder.Gallimardsitsonthecratestaringattherecorder, asadsmileonhisface.Upstage Track, that looks like a stunning female in standard Chinese attire, dancings a typical item from the Peking Opera, bordered


by the percussiveclatterofChinesemusic.Then,slowly,lightsandsoundcross-fade;

theChineseoperamusicdissolvesintoaWesternopera, the & #x 201C; LoveDuet & #x 201D; fromPuccini & #x 2019; sMadameButterfly.Songcontinuesdancing, nowto theWesternaccompaniment.Thoughhermovementsare thesame, thedifferenceinmusicnowgivesthemaballeticquality.Gallimardrises, andturnsupstagetowardsthefigureofSong, whodanceswithoutacknowledginghim.GALLIMARD: Butterfly, Butterfly ... Heforceshimselftoturnaway, astheimageofSongfadesout, andtalkstous.GALLIMARD: The restrictions ofmy

cell are thus: four-and-a-halfmeters by five.There & #x 2019; sonewindowagainst the farwall; adoor, verystrong, toprotectmefromautograph canines. I & #x 2019; m in charge of the tape recorder, the warmer, and also thischarmingcoffeetable.When I intend to consume, I & #x 2019; m marched off to the dining-room & #x 2014; warm, steaming thelightbulbturnsitselfoff, slopappearsonmyplate.wheniwanttosleep & #x 2014; theworkof fairies. It & #x 2019; s a captivated area I inhabit.

The French & #x 2014; we understand just how to run aprison.But, tobehonest, I & #x 2019; mnottreatedlikeanordinaryprisoner.Why?BecauseI & #x 2019; macelebrity.Yousee, Imakepeoplelaugh.Ineverdreamedthisdaywouldarrive.I & #x 2019; veneverbeenconsideredwittyorclever.Infact, asayoungboy

, inaninformalpollamongmygrammarschoolclassmates, Iwasvoted & #x 201C; leastlikelytobeinvitedtoaparty. & #x 201D; It & #x 2019; satitleImanagedtoholdontoformanyyears.Despitesomestiffcompetition.But currently, exactly how the tables transform! Look atme: the life of every function inParis. Paris?Why bemodest?My popularity has actually infected Amsterdam, London, New York

. Pay attention to them! In theworld & #x 2019; s most intelligent shops. I & #x 2019; m the onewho lifts theirspirits!Withaflourish, Gallimarddirectsourattentiontoanotherpartofthestage.scene2 Aparty.Present.Lightsgouponachic-lookingparlor, whereawell-dressedtrio, twomenandonewoman, make conversation.Gallimardalso continues to be lit; heobserves them fromhiscell.WOMAN: AndwhatofGallimard?MAN1: Gallimard?MAN2: Gallimard!GALLIMARD(To us ): You see?They & #x 2019; re all identified to saymy name, as if itweresomenewdance.WOMAN: Hestillclaimsnottobelievethetruth.MAN1: What?Still?Evensincethetrial?WOMAN: Yes.Isn & #x 2019; titmad?MAN2(Giggling): Hesays ... itwasdark ... andshewasverymodest!Thetriobreakintolaughter.MAN1: So & #x 2014; what?Henevertouchedherwithhishands?MAN2: Perhapshedid, andsimplymisidentifiedtheequipment.Acompellingcaseforsexeducationintheschools.WOMAN: ToprotecttheNationalSecurity & #x 2014; theChurchcan & #x 2019; targuewiththat.MAN1: That & #x 2019; simpossible!Howcouldhenotknow?MAN2: Simpleignorance.MAN1: Fortwentyyears?MAN2: Timeflieswhenyou & #x 2019; rebeingstupid.WOMAN: Well, IthoughttheFrenchwereladies & #x 2019; men.MAN2: ItseemsMonsieurGallimardwasoverlyanxioustoliveuptohisnationalreputation.WOMAN: Well, he & #x 2019; snotverygood-looking. MAN1: No, he & #x 2019; snot.MAN2: Certainlynot.WOMAN: In Fact, Ifeelsorryforhim.MAN2: Atoast!ToMonsieurGallimard!WOMAN: Yes!ToGallimard!MAN1: ToGallimard!MAN2: Viveladifference!Theytoast, laughing.Lightsdownonthem.scene3 M.Gallimard & #x 2019; scell.GALLIMARD(Grinning): Yousee?They toastme.

I & #x 2019; vebecomepatronsaintof thesocially inefficient. Can they truly be so crazy? Male like that & #x 2014; they must bescratchingatmydoor, beggingtolearnmysecrets!ForI,

ReneGallimard, yousee, Ihaveknown, andbeenlovedby ... thePerfectWoman.Aloneinthiscell, Isitnightafternight, watchingourstoryplaythroughmyhead

, constantly looking for a brand-new end, one which retrieves my honor


, where

shereturnsat last tomyarms.And I #x & imagineyou 2014; my idealaudience & #x 2014; whocome tounderstandandeven, perhapsjustalittle, toenvyme.Heturnsonhistaperecorder.Overthehousespeakers, weheartheopeningphrasesofMadameButterfly.GALLIMARD: InorderforyoutounderstandwhatIdidandwhy, Imustintroduceyoutomyfavoriteopera: MadameButterfly.ByGiacomoPuccini.FirstproducedatLaScala

, Milan, in1904, itisnowbelovedthroughouttheWesternworld.AsGallimarddescribestheopera, thetapeseguesinandouttosectionshemaybedescribing.GALLIMARD: Andwhynot?Itsheroine, Cio-Cio-San, alsoknownasButterfly, isafeminine perfect, beautifulandbrave.And itshero, theman forwhomshegivesupeverything, is & #x 2014;(Hepullsoutanavalofficer & #x 2019; scapfromunderhiscrate, popsitonhishead, andstrutsabout)& #x 2014; notverygood-looking, nottoobright, andprettymuchawimp: BenjaminFranklinPinkertonoftheU.S.Navy.Asthecurtainrises, he & #x 2019; sjustclosed on 2 terrific deals: one on a home, the various other on a female & #x 2014; call it apackagedeal.Pinkerton acquired the legal rights to Butterfly for one hundred yen & #x 2014; in modemcurrency, equal toabout ... sixty-sixcents. So, he & #x 2019; sfeelingprettypleasedwithhimselfasSharpless, theAmericanconsul, arrivestowitnessthemarriage.Marc, wearinganofficialcaptodesignateSharpless, entersandplaysthecharacter.SHARPLESS/ MARC: Pinkerton!PINKERTON/ GALLIMARD: Sharpless

! Exactly how & #x 2019; s it hangin & #x 2018;? It & #x 2019; s a wonderful day, justgreat.Betweenmyhouse, mywife, andtherickshawrideinfromtown, I & #x 2019; vesavednineteencentsjustthismorning.SHARPLESS: Fantastic.

I can see the engraving on your headstone currently: & #x 201C; I savedadollar, hereIlie.

& #x 201D;(Helooksaround

)Nicehouse.PINKERTON: It & #x 2019; sartistic.Artistic, #x & wear 2019; tyouthink?Likethewaytheshojiscreensslide open up to disclose the damp

bar as well as nightclub mirror

sphere? Sophisticated, huh? Fantastic forimpressingthechicks.SHARPLESS:

& #x 201C; Chicks & #x 201D;? Pinkerton, you


& #x 2019; regoingtobeamarriedman!PINKERTON: Well, sortof.SHARPLESS: Whatdoyoumean?PINKERTON: This nation & #x 2014; Sharpless, it is alright. You obtained all these geisha girlsrunningaround & #x 2014; SHARPLESS: Iknow!Ilivehere!PINKERTON: Then, youknowthemarriagelaws, right?Isplitforonemonth, it & #x 2019; sannulled!SHARPLESS: Leaveittoyoutoreadthefineprint.Who & #x 2019; stheluckygirl?PINKERTON: Cio-Cio-San. HerfriendscallherButterfly.Sharpless, sheeatsoutofmyhand!SHARPLESS: She & #x 2019; sprobablyveryhungry.PINKERTON: NotlikeAmericangirls.It &

#x 2019; struewhattheysayaboutOrientalgirls.Theywanttobetreatedbad!SHARPLESS: Oh, please!PINKERTON: It & #x 2019; strue!SHARPLESS: Areyouseriousaboutthisgirl?PINKERTON: I & #x 2019; #x, aren & mmarryingher 2019; tI?SHARPLESS: Yes & #x 2014; withgeneroustrade-interms. PINKERTON: WhenIleave, she & #x 2019; llknowwhatit & #x 2019; sliketohavelovedarealman.AndI & #x 2019; llevenbuyherafewnylons.SHARPLESS: Youaren & #x 2019; tplanningtotakeherwithyou?PINKERTON: Huh?Where?SHARPLESS: Home!PINKERTON: Youmean, America?Areyoucrazy?CanyouseehertryingtobuyriceinSt.Louis?SHARPLESS: So, you & #x 2019; renotserious.Pause.PINKERTON/ GALLIMARD(As Pinkerton): Consul, I am a seafarer in port.(AsGallimard)Theythenproceedtosingthefamousduet, & #x 201C; TheWholeWorldOver. & #x 201D; Theduetplaysonthespeakers.Gallimard, asPinkerton, lipsyncshislinesfromtheopera.GALLIMARD: To provide a harsh translation: & #x 201C; The entire globe over, the Yankeetravels, castinghisanchorwhereverhewants.Life & #x 2019; snotworthlivingunlesshecanwin theheartsof the fairestmaidens, thenhotfoot it off thepremisesASAP. & #x 201D;(HeturnstowardsMarc)Intheprecedingscene, IplayedPinkerton, thewomanizingcad, and also my friendMarc from institution ...(Marc bows grandly for our advantage)playedSharpless, thesensitivesoulofreason.Inlife, nevertheless, ourpositionswereusually & #x 2014; no, constantly & #x 2014; reversed.scene4 EcoleNationale.Aix-en-Provence.1947. GALLIMARD: No, Marc, IthinkI & #x 2019; dratherstayhome.MARC: Areyoucrazy?! WearegoingtoDad & #x 2019; scondoinMarseille!Youknowwhathappenedlasttime?GALLIMARD: OfcourseIdo.MARC: Ofcourseyoudon & #x 2018; t!Youneverknow ... Theystripped, Rene!GALLIMARD: Whostripped?MARC: Thegirls!GALLIMARD: Girls?Whosaidanythingaboutgirls?MARC: Rene, we & #x 2019; reabunchauniversityguysgoin & #x 2019; uptothewoods.Whatarewegonnado & #x 2014; talkphilosophy?GALLIMARD: Whatgirls?Wheredoyougetthem?MARC: Whocares?Thepointis, theycome: Ontrucks.Packedinlikesardines.Thebackflipsopen, babeshopout, we & #x 2019; rereadytoroll.GALLIMARD: #x, youmean & theyjust 2014;? MARC: Beforeyouknowit, everylastoneofthem & #x 2014; they &

#x 2019; restrippedandsplashingaroundmypool.There & #x 2019; theycan, #x & snomoonout 2019; tseewhat & #x 2019; sgoingon, theirboobsareflapping, right?Youcloseyoureyes, reachout & #x 2014; it & #x 2019;

sgrabbag, obtain it?Doesn & #x 2019; tmatterwhoseassisbetweenwhoselegs, whoseteetharesinkingintowho.You &

#x 2019; rejustinthere, goingatit, eyesclosed, onandonforaslongasyoucanstand.(Time Out)Somefun, huh?GALLIMARD: Whathappensinthemorning?MARC: Inthemorning, you & #x 2019; rereadytotalksomephilosophy.(Beat )Sohow & #x 2018; boutit?GALLIMARD: Marc, Ican & #x 2019; t. I & #x 2019; mafraidthey & #x 2019; llsayno & #x 2014

; thegirls.SoIneverask.MARC: Youdon & #x 2019; thavetoask!That & #x 2019; sthebeauty & #x 2014; put on &

#x 2019; tyousee?Theydon

& #x 2019; thavetosayyes.It

& #x 2019; sperfectforaguylikeyou, really.GALLIMARD: Yougoahead ... Imaycomelater.MARC: Hey, Rene & #x 2014; itdoesn & #x 2019;

tmatter thatyou & #x 2019; reclumsyandgotzits & #x 2014; they & #x 2019; renot looking!GALLIMARD: Thankyouverymuch.MARC: Wimp.Marcwalks over to the opposite side of the phase, as well as begins grinning and also swing atwomenintheaudience.GALLIMARD(Tous): Wenowreturn tomyversionofMadameButterflyand theeventsleadingtomyrecentconvictionfortreason.GallimardnoticesMarcmakinglewdgestures.GALLIMARD: Marc, whatareyoudoing?MARC: Huh?

(Sotto voce)Rene, there & #x 2019; re a lotta wonderful infants around. They & #x 2019; reprobablylookin & #x 2019; atmeandthinking, & #x 201C;

Whatadangerousguy. & #x 201D; GALLIMARD: Yes & #x 2014; just how might they be however assist thrilled by

your coolsophistication?Gallimard stands out the Sharpless

cap onMarc & #x 2019; s head,

and also aims him offstage.Marcexits, leering.scene5 M.Gallimard & #x 2019; scell.GALLIMARD: Following, Butterflymakesherentrance.Welearnherage & #x 2014; fifteen ... butverymatureforheryears.LightscomeupontheareawherewesawSongdancingat thetopof theplay.Sheappearsthereagain, nowdressedasMadameButterfly, movingtothe & #x 201C; LoveDuet. & #x 201D; Gallimardturnsupstageslightlytowatch, transfixed.GALLIMARD: Butassheglidespasthim, lovely, laughingsoftlybehindherfan, #x & put on 2019; twewhoaremensighwithhope?We, whoarenothandsome, norbrave, norpowerful, yet in some way think, like Pinkerton, that


we should have a Butterfly. Shearriveswithallherpossessionsinthefoldsofhersleeves, laysthemallout, forherman to do with as he pleases. Also her life itself & #x 2014; she bows her head as shewhispers that she & #x 2019;

s not evenworth the hundred yen he spent for her.He & #x 2019; s alreadygiventoomuch, whenweknowhe & #x 2019; sreallyhadtogivenothingatall.MusicandlightsonSongout.Gallimardsitsathiscrate.GALLIMARD: In reality, womenwhoput their totalworth at much less than sixty-sixcentsarequitehardtofind. Theclosestwecomeisinthepagesofthesemagazines.(Hereachesintohiscrate, pullsoutastackofgirliemagazines, andbeginsflippingthroughthem)Quiteanecessityinprison.Forthreeorfourdollars, yougetsevenoreightwomen.I initially uncovered these publications at my uncle & #x 2019; s home. Eventually, as a child oftwelve.ThefirsttimeIsawtheminhiscloset ... alllinedup & #x 2014; mybodyshook.Notwithlust & #x 2014; no, withpower.Herewerewomen


& #x 2014; ashelfful & #x 2014; whowoulddoexactlyasIwanted.The & #x 201C; LoveDuet & #x 201D;

creepsinoverthespeakers.Specialcomesup, disclosing,

notSongthistime, butapinupgirlinasexynegligee, herbacktous.Gallimardturnsupstageandlooksather.GIRL: Iknowyou & #x 2019; rewatchingme.GALLIMARD: Mythroat ... it & #x 2019; sdry.GIRL: IleavemyblindsopeneverynightbeforeIgotobed.GALLIMARD: Ican &

#x 2019; tmove.GIRL: Ileavemyblindsopenandthelightson.GALLIMARD: I & #x

2019; mshaking.Myskinishot, butmypenisissoft.Why?GIRL: Istandinfrontofthewindow.GALLIMARD: Whatisshegoingtodo?GIRL: Itossmyhair, andIletmylipspart ... barely.GALLIMARD: Ishouldn & #x 2019; tbeseeingthis.It & #x 2019; ssodirty.I &

#x 2019; msobad.GIRL: Then, gradually, Iliftoffmynightdress.GALLIMARD: Oh, god.Ican & #x 2019;

tbelieveit.Ican & #x 2018; t & #x 2014; WOMAN: Itossittotheground.GALLIMARD: Currently, she & #x 2019; sgoingtowalkaway.She & #x 2019; sgoingto & #x 2014; WOMAN: Istandthere, inthelight, displayingmyself.GALLIMARD: No.She & #x 2018; s & #x 2014; whyisshenaked?GIRL: Toyou.GALLIMARD: Infrontofawindow?Thisiswrong.No & #x 2014; WOMAN: Withoutshame.GALLIMARD: No, shemust ... likeit.GIRL: Ilikeit.GALLIMARD: She ... shewantsmetosee.GIRL: Iwantyoutosee.GALLIMARD: Ican

& #x 2019; tbelieveit!She & #x 2019; sgettingexcited!GIRL: can & #x 2019; tseeyou.Youcandowhateveryouwant.GALLIMARD: Ican & #x 2019; tdoathing.Why?GIRL: Whatwouldyoulikemetodo ... next?Lightsgodownonher.Musicoff. Silence, asGallimardputsawayhismagazines.Thenheresumestalkingtous.GALLIMARD: ActTwobeginswithButterflystaringattheocean.Pinkerton & #x 2019; sbeencalledbacktotheU.S., andhe & #x 2019; sgivenhiswifeadetailedscheduleofhisplans.Inthecolumnmarked & #x 201C; return day, & #x 201D; he & #x 2019; s created & #x 201C; when the robins nest. & #x 201D; This fell short toignitehersuspicions.Now, threeyearshavepassedwithoutapeepfromhim.Whichbringsaresponsefromherfaithfulservant, Suzuki.ComradeChinenters, playingSuzuki.SUZUKI: Lady, he & #x 2019;

saloser.What & #x 2019; dheevergiveyou?NineteencentsandthoseuglyDay-Glo stockings? Look, it & #x 2019; s finished!Kaput!Done!And you must rejoice! Imean, the guywas awoofer!He attempted in the past, you #x & understand 2014; prior to hemet you, hewentdowntogeishacentralandplunkeddownhissparechangeinfrontoftheusualcandidates & #x 2014; everyoneelsegagged!Thesearehungryprostitutes, andtheywerenotinterested,

getthepicture?Now, andlet, #x & stopslatheringwhenanamericanshipsailsin 2019; smakesomebucks & #x 2014; Imean

, yen!Wearebroke!Now, whataboutYamadori?Hey, hi there & #x 2014; #x & put on 2019;

tlookaway &

#x 2014; themanisaprince & #x 2014; figuratively, and also, what & #x 2019; sevenbetter, literally.He & #x 2019;

srich, he & #x 2019; shandsome, hesayshe & #x 2019; lldie if youdon & #x 2019; tmarry him & #x 2014; andhe & #x 2019; s evenwilling to neglect the little reality thatyou & #x 2019;

vebeendefloweredallover theplacebya foreigndevil.Whatdoyoumean, & #x 201C; Buthe & #x 2019; sJapanese? & #x 201D; You & #x 2019; reJapanese!Youthinkyou & #x 2019; vebeentouchedbythewhiteygod?Hewasasailorwithdirtyhands!Suzukistalksoffstage.GALLIMARD: She & #x 2019;

salsovisitedbyConsulSharpless, sentbyPinkertononaminorerrand.Marcenters, asSharpless.SHARPLESS: Ihatethisjob.GALLIMARD: ThisPinkerton & #x 2014; hedoesn & #x 2019; tshowuppersonallytotellhiswifehe & #x 2019; sabandoningher.No, hesendsagovernmentdiplomat ... attaxpayer & #x 2019; sexpense.SHARPLESS: Butterfly?Butterfly?Ihavesomebad &

#x 2014

; I & #x 2019; mgoingtobeill.Butterfly, Icametotellyou & #x 2014; GALLIMARD: Butterfly states she recognizes he & #x 2019; ll return as well as if he #x & doesn

2019; t she & #x 2019; ll killherself instead of return to her very own individuals.(Beat)This creates a time-out in theconversation.SHARPLESS: Let & #x 2019; sputitthisway ... GALLIMARD: Butterflyrunsintothenextroom, andreturnsholding & #x 2014; Soundcue: ababycrying.Sharpless, & #x 201C; seeing & #x 201D; this, backsaway.SHARPLESS: Well, good.Happytoseethingsgoingsowell.IsupposeI & #x 2019; llbegoingnow.Tata.Ciao.(Heturnsaway.Soundcueout )Ihatethisjob.( Heexits)GALLIMARD: Atthatmoment, ButterflyspotsintheharboranAmericanship & #x 2014; theAbramoLincoln!Music sign: & #x 201C; The Blossom Duet. & #x 201D; Tune, still impersonated Butterfly, becomes aweddingkimono, movingtothemusic.GALLIMARD: Thisisthemomentthatredeemsheryearsofwaiting.WithSuzuki & #x 2019; shelp, theycovertheroomwithflowers & #x 2014; Chin, asSuzuki, trudgesonstageanddropsaloneflowerwithoutmuchenthusiasm.GALLIMARD: & #x 2014; andshechangesintoherweddingdresstoprepareforPinkerton & #x 2019; sarrival.Suzuki assists Butterfly adjustment.

Helga goes into, as well as aids Gallimard become atuxedo.GALLIMARD: Imarriedawomanolderthanmyself & #x 2014; Helga.HELGA: My fatherwas ambassador toAustralia. I grewup amongcriminals andkangaroos.GALLIMARD: Hearingthatbroughtmetothealtar & #x 2014; Helgaexits.GALLIMARD: & #x 2014; where I took a pledge relinquishing love. No dream lady wouldeverwantme, so, yes, Iwouldsettleforaquickleapupthecareerladder.Passion, Ibanish, andinitsplace & #x 2014; practicality!ButmyvowshadlongsincelosttheircharmbythetimewearrivedinChina.Thesadtruthisthatallmenwantabeautifulwoman, andtheugliertheman, thegreaterthewant.Suzuki makes last changes of Butterfly & #x 2019; s outfit, as does Gallimard of histuxedo.GALLIMARD: Imarried late, at age thirty-one. Iwas loyal tomymarriage foreightyears.Untilthedaywhen,asajunior-leveldiplomatinpuritanicalPeking, inaparlor at the German ambassador & #x 2019; s home, throughout the & #x 201C; Power of a HundredFlowers, & #x 201D; Ifirstsawher ... singingthedeathscenefromMadameButterfly, Suzukirunsoffstage.scene6 Germanambassador & #x 2019

; shouse.Beijing.1960. The upstage unique location currently ends up being a phase. Numerous chairs deal with upstage, standing for seating for some twenty visitors in the shop. A couple of & #x 201C; mediators & #x 201D; & #x 2014;


Renee, Marc, Toulon & #x 2014; informaldressenterandtakeseats.Gallimardalsositsdown, however transforms towardsusandcontinuesto talk.Orchestralaccompaniment on the tape is currently changed by

a basic piano. Track chooses

up thedeathscenefromthepointwhereButterflyuncoversthehara-kiriknife.

GALLIMARD: The finishing is dismal.

Pinkerton, in an act of wonderful nerve, stayshome and also sends his American other half to get Butterfly &

#x 2019; s kid. The fact, longdeferred, hascomeuptoherdoor.Song, playing Butterfly, sings the

lines from the opera in her very own voice & #x 2014; which

, thoughnotclassical, shouldbedecent.SONG: & #x 201C; Cononormuore/chinonpuoserbar/vitacononore. & #x 201D; GALLIMARD(At The Same Time): & #x 201C;

Fatality with honor/ Is

far better than life/ Life withdishonor. & #x 201D; The phase is

brightened; we are currently entirely within

a classy mediator & #x 2019; sresidence. Tune continues to play out a shortened fatality scene. Every person in theroomapplauds.Song, shyly, takesherbows.Othersintheroomrushtocongratulateher.Gallimardremainswithus.GALLIMARD: Theysayinoperathevoiceiseverything.That & #x 2019; sprobablywhyI & #x 2019; dneverbeforeenjoyedopera.Here ...

herewasaButterflywithlittleornovoice & #x 2014; butshe had the poise, the special ... I thought this lady

. I thought her suffering. Iwantedtotakeherinmyarms & #x 2014; sodelicate, evenIcouldprotecther, takeherhome, pamperheruntilshesmiled.Overthecourseofthepreceedingspeech, SonghasbrokenfromtheupstagecrowdandmoveddirectlyupstageofGallimard.SONG: Excuseme.Monsieur ...? Gallimardturnsupstage, shocked.GALLIMARD: Oh!Gallimard.Mademoiselle ...? Abeautiful ... TUNE: SongLiling.GALLIMARD: Abeautifulperformance.SONG: Oh, please.GALLIMARD: Iusually & #x 2014; TRACK: Youmakemeblush.I & #x 2019; mnooperasingeratall.GALLIMARD: Iusuallydon & #x 2019; tlikeButterfly.SONG: Ican & #x 2019; tblameyouintheleast.GALLIMARD: #x, thestory & imean 2014; TUNE: Ridiculous.GALLIMARD: Ilikethestory, yet ... what?SONG:


Oh, youlikeit?GALLIMARD: I.

. whatImeanis, I & #x 2019; vealwaysseenitplayedbyhugewomeninsomuchbadmakeup.SONG: BadmakeupisnotuniquetotheWest.GALLIMARD: Yet, whocanbelievethem?SONG: Andyoubelieveme?GALLIMARD: Absolutely.Youwereutterlyconvincing.It & #x 2019; sthefirsttime & #x 2014; TRACK: Convincing? As a Japanese lady? The Japanese utilized thousands of ourpeople for clinical experiments throughout the battle, you understand. Yet I collect such anironyislostonyou.GALLIMARD: No!Iwasabouttosay, it & #x 2019; sthefirsttimeI & #x 2019; veseenthebeautyofthestory.SONG: Really?GALLIMARD: Ofherdeath. It & #x 2019; sa ... apuresacrifice.He & #x 2019; sunworthy, butwhatcanshedo?Sheloveshim ... somuch.It & #x 2019; saverybeautifulstory.SONG: Well, yes, toaWesterner.GALLIMARD: Excuseme?SONG: It & #x 2019; soneofyourfavoritefantasies, isn & #x 2019; tit?ThesubmissiveOrientalwomanandthecruelwhiteman.GALLIMARD: Well, Ididn & #x 2019; tquitemean ... TRACK: Consider it thisway: whatwouldyou claim if a blondehomecomingqueenfell crazy with a brief Japanese business person? He treats her cruelly, then goeshome for 3 years, duringwhich time she hopes to his photo and also transforms downmarriagefromayoungKennedy.Then, whenshelearnshehasremarried, shekillsherself.Now, Ibelieveyouwouldconsiderthisgirltobeaderangedidiot, correct?But since it & #x 2019; s an Asian that eliminates herself for aWesterner & #x 2014; ah! & #x 2014; you locate itbeautiful.Silence.GALLIMARD: Yes ... well ... Iseeyourpoint ... TUNE: I will certainly never ever do Butterfly once again, Monsieur Gallimard. CometothePekingOperasometime.Expandyourmind if you want to seesomerealtheatre.