Acknowledgements
Introduction
1 The Trilogy of Chinese America: Magic Realism and the Californian Cool FOB
The Dance and the Railroad
Family Devotions
2 Beyond Chinese America: Love, Death and Resurrection The House of Sleeping Beauties
The Sound of a Voice
As the Crow Flies
Rich Relations
3 M. Butterfly The Story and Style of M. Butterfly
The Production of M. Butterfly
Criticisms and Interpretations of M. Butterfly
The Legacy of M. Butterfly
4 Identity Politics and Multiculturalism in the 1990s Bondage
Face Value
Trying to Find Chinatown
Golden Child
5 The Irony and Rhetoric of the Global Millennium
Yellow Face Chinglish
Kung Fu
6 Other Critical Perspectives
'Something Beyond and Above': David Henry Hwang's
Revision of Flower Drum Song
Josephine Lee
David Henry Hwang's Golden Opportunities
Dan Bacalzo
Butterfly and Locust: Chinglish and Asian American
Theatre in the Transnational Context
Daphne Lei

Esther Kim Lee is Professor in Theater Studies and International Comparative Studies at Duke University, USA. She specializes in theatre history and dramatic criticism, and is the author of A History of Asian American Theatre (2006), which received the 2007 Award for Outstanding Book given by Association for Theatre in Higher Education, and The Theatre of David Henry Hwang (Bloomsbury Methuen Drama, 2015). She is the editor of Seven Contemporary Plays from the Korean Diaspora in the Americas (2012). From 2013 to 2014, she was the Chief Editor of Theatre Survey, the flagship journal of the American Society for Theatre Research (ASTR), and starting in 2016, she began her position as ASTR's Vice President for Publications.

Since the premiere of his play FOB in 1979, the Chinese American playwright David Henry Hwang has made a significant impact in the U. S. and beyond. The Theatre of David Henry Hwang provides an in-depth study of his plays and other works in theatre.

Beginning with his "Trilogy of Chinese America", Esther Kim Lee traces all major phases of his playwriting career. Utilizing historical and dramaturgical analysis, she argues that Hwang has developed a unique style of meta-theatricality and irony in writing plays that are both politically charged and commercially viable.
The book also features three essays written by scholars of Asian American theatre and a comprehensive list of primary and secondary sources on his oeuvre.

This comprehensive study of Hwang's work follows his career both chronologically and thematically. The first chapter analyzes Hwang's early plays, "Trilogy of Chinese America," in which he explores issues of identity and cultural assimilation particular to Chinese Americans. Chapter two looks at four plays characterised as "Beyond Chinese America," which examines Hwang's less known plays. Chapter three focuses on M. Butterfly, which received the Tony Award for Best Play in 1988. In chapter four, Lee explores Hwang's development as a playwright during the decade of the 1990s with a focus on identity politics and multiculturalism. Chapter five examines Hwang's playwriting style in depth with a discussion of Hwang's more recent plays such as Yellow Face and Chinglish. The sixth chapter features three essays written by leading scholars in Asian American theatre: Josephine Lee on Flower Drum Song, Dan Bacalzo on Golden Child, and Daphne Lei on Chinglish. The final section provides a comprehensive compilation of sources: a chronology, a bibliography of Hwang's works, reviews and critical sources.