The playwright David Henry Hwang has been in high demand in recent years—not for works like his Tony Award-winning M. Butterfly, which is essentially banned there,【C1】______because of his standing as the only son of Asia to be【C2】______regularly on Broadway. In 2005 he was【C3】______to Shanghai to discuss Broadway-style shows that might fill the lavish (耗费巨大的) cultural centers under【C4】______across the country. Yet our appreciation for status symbols【C5】______Broadway and Mr. Hwang did not translate into understanding more ordinary aspects of American life. "We【C6】______to one brand-new cultural center that had extremely beautiful Italian marble (大理石), fine Brazilian wood, smart German design and these horribly【C7】______signs for handicapped restrooms that read, 'Deformed Man's Toilet,'" Mr. Hwang recalled. "You saw this over and over—an eagerness【C8】______Chinese and Americans to impress one another,【C9】______wildly basic misunderstandings because of language and cultural【C10】______I realized I'd never seen a play【C11】______with this aspect, where the characters are trying to understand each other【C12】______keeping the dignity of their own language." Mr. Hwang's latest play, Chinglish, now【C13】______preview performances on Broadway at the Longacre Theater, is his【C14】______to grapple (努力应付) with East-West relations from a good【C15】______that is new for him. Starting with his earliest plays at Stanford—his first, FOB, went straight【C16】______a dormitory production to a run at the Public Theater in New York in 1980—he has【C17】______multiculturalism, the stranger-in-a-strange-land tensions that【C18】______Asian-Americans and others of hyphenated ethnicity. With Chinglish, 【C19】______has no Asian-American characters, Mr. Hwang has moved on from multiculturalism to consider internationalism today, specifically the frustrations【C20】______by Americans and Chinese who are united in capitalist greed but divided by their cultural sensibilities.