In spite of arguable legislative efforts to erase racial and ethnic inequalities and promote a safe and accepting society, the United States, like most countries, breeds its fair share of cultural prejudice. Directed by M. Night Shyamalan and starring Noah Ringer, “The Last Airbender”, for example, released a casting notice looking for “Caucasians and other ethnicities.” The latter part of the phrase maintains the illusion of equal opportunity for actors of different ethnic origins, yet implicitly identifies Caucasians as fit for the role. Playwright David Henry Hwang attempts to “blur the lines of these categories we have for race” and, according to Patrick Healy, “consider internationalism today, specifically the frustrations experienced by Americans and Chinese who are united in capitalist greed but divided by their cultural sensibilities.”

In order to carry out this objective, Hwang has written “Chinglish,” a New York based production with soaring production costs and risky Mandarin dialogues (with English supertitles). The play appeals to the assumed relatability of an English speaker in a foreign country. It exposes a type of affection far more mature than love, “qingyi”. This sentiment is typical of a Chinese marital partnership “and sets up a surprising clash” between Daniel, a newcomer, and Xi, “a cagey, attractive bureaucrat whom Daniel falls for.”

The miscommunication and misgivings between the pair reveal an intrinsic divide among members of distinct cultures. The play draws attention to the cultural expectancies and behaviors of ethnically and racially diverse individuals. It also dispels racial stereotypes, such as Asian women working as manicurists. The actuality of Chinglish sets it apart from other Broadway productions and hopefully resonates with audiences who seek equal parts truth and comedy in theatre. Although I have experienced a minimal sense of cultural dissonance, I anticipate Chinglish and the realism that it brings to cultural interaction.