The best stories of all are the ones that teach us something, still better if they are true. This Chinese tale is based on the life of Zhuang Zhou, noted philosopher of the Confucian school. He absented himself from society for long periods to continue his quest for wisdom (Tao). Even coming closer to his goal did not prevent him from misjudging human nature. Returning home as a sage after ten years, he pronounced such imponderables as "true feelings are without emotions." He is credited with the speculation as to whether he was really a butterfly dreaming he was human, hence this play's title. In his travels, seeing a young widow washing her husband's tomb with tears made Zhuang bold enough to test his wife's fidelity. Feigning his death, he observed her mourning until nearly the end of the prescribed period. He disguised himself as exuberant Prince Sun, who earlier courted Madame Zhuang. Succumbing to his insistent charm, she began to hack open Zhuang's coffin to extract his brain, which should cure Sun's headache. At this point Zhuang reappeared to confront his unfaithful wife, who promptly committed suicide. Reality thus intruded on Zhuang's theories, and he may have been experienced his first direct emotions as a result. Once again Yangtze Repertory offers a well-conceived and well-rehearsed production. In his U.S. debut, Beijing-based director Wang XiaoYing very effectively incorporates extended choreographic sequences and traditional Beijing opera musical accompaniment into Butterfly Dreams. Even though most of the dialogue is in Mandarin-Chinese language, the action is clear enough to follow the story line. Yangtze Artistic Director Joanna Chan introduces a double for Zhuang, who speaks Charles Jen's English translation. This solution is preferable to using a narrator, but the casting makes for a leaden feel. Jeff Menaker may match his Chinese colleagues' physique but not their spirit. Many needed comic moments fall flat with his delivery. K.K. Wong is masterful as the philosopher Zhuang Zhou, but the most varied role of his wife, Madame Zhuang, gives YiLin Li a chance to demonstrate her expressiveness. As Prince Sun, Wang GuoFu proves appropriately passionate and eloquent. The entire cast performs Yung-Yung Tsuai's choreography with composure, most especially Janet Yan as the graceful butterfly silhouette. Although Xu HouJian's costumes most likely have historical accuracy, it's unfortunate that the fabrics are so plain. This might have relieved Anne Lommel's austere set and Woohyung Lee's minimal lighting scheme. Director Wang's most inspired moment is using Menaker with outstretched arms to represent a somewhat participatory screen separating Wang GuoFu's earnest Prince in dialogue with YiLin Li's Madame Zhuang.
