How David Henry Hwang and Alexandra Silber are Reimagining Classic Musicals

Los Angeles is experiencing a rare convergence of Golden Age musical theater, with three landmark revivals—Flower Drum Song, The Sound of Music, and Brigadoon—running concurrently through mid-June. But behind the scenes, two acclaimed playwrights, David Henry Hwang and Alexandra Silber, are reimagining the books of two of these classics to address outdated elements while preserving their original intent. Their work offers a masterclass in how modern adaptations can honor legacy while staying relevant to today’s audiences.

At the heart of the debate lies a simple question: Why do the books of beloved musicals so often require restoration—or outright surgery—when revived? The answer lies in the intersection of artistic legacy and evolving cultural sensibilities. While the scores of Rodgers & Hammerstein, Lerner & Loewe, and other Golden Age composers remain timeless, their books frequently reflect the gender and racial politics of their eras. As Hwang and Silber prove, updating these narratives isn’t about betrayal—it’s about revitalization.

For Flower Drum Song, Hwang—whose 2021 Tony-winning adaptation of M. Butterfly redefined Asian American representation on Broadway—is leading a fresh take on the 1958 musical about Chinese American immigrants in San Francisco. The original book, by Joseph Stein, has faced criticism for its portrayal of stereotypes and cultural insensitivity. Hwang’s revision, produced at East West Players, aims to modernize the story while retaining its core themes of assimilation, and identity. Meanwhile, Silber’s adaptation of Brigadoon at Pasadena Playhouse is tackling similar challenges: the 1947 musical’s Scottish village fantasy, while charming, contains problematic depictions of gender roles and cultural authenticity. Silber’s approach balances preservation with progressive updates, ensuring the show resonates with contemporary audiences.

Why the Book Matters: The Craft of Musical Theater Adaptation

The book of a musical—the non-sung dialogue and narrative framework—is often the most overlooked yet critical component of a revival. While the score carries the emotional weight, the book sets the stage for how characters interact, how conflicts unfold, and how themes are explored. As theater historian American Theatre Magazine notes, even the most celebrated musicals—from Oklahoma! to West Side Story—require periodic reexamination to align with modern values.

Hwang and Silber’s work is part of a broader trend in regional theaters, including New York’s Encores! and San Francisco’s 42nd Street Moon, where book revisions are increasingly common. The challenge lies in striking a balance: too much change risks alienating purists, while too little risks perpetuating harm. “Book writing is a craft more about structure than dialogue,” Hwang has observed, comparing it to screenwriting—where the goal is to serve the central activity (in this case, music and dance) rather than overshadow it.

Key Takeaways:

• Cultural Relevance: Hwang and Silber’s adaptations reflect a growing demand for musicals to engage with contemporary issues of race, gender, and identity.
• Artistic Legacy: Their work demonstrates how classic scores can be paired with modern books without losing the original vision.
• Industry Shift: Regional theaters are increasingly prioritizing book revisions as part of revival strategies.
• Audience Impact: Updates aim to attract younger, diverse viewers while respecting the works’ historical significance.

David Henry Hwang: Modernizing Flower Drum Song

Hwang’s adaptation of Flower Drum Song marks his second major engagement with a Rodgers & Hammerstein work, following his 2021 M. Butterfly revival. The original Flower Drum Song, which premiered on Broadway in 1958, was groundbreaking for its portrayal of Chinese American life—but its depictions of women as either submissive or exoticized have aged poorly. Hwang’s revision, developed in collaboration with East West Players, retains the musical’s iconic songs (“I Enjoy Being a Girl,” “The Happy Time”) while recontextualizing the narrative to center Asian American voices.

One of the most significant changes involves the character of Linda Low, whose original portrayal has been criticized for reinforcing stereotypes. Hwang’s version reimagines her as a more complex, independent figure, reflecting the realities of modern immigrant experiences. “The book wasn’t just about the music—it was about the stories behind it,” Hwang told the Los Angeles Times in April. “We wanted to honor the original while making it speak to today.”

The production at East West Players, set against the backdrop of the James Irvine Japanese Garden, underscores the show’s cultural roots. By integrating contemporary perspectives, Hwang’s adaptation positions Flower Drum Song as a relevant conversation starter about assimilation, family, and cultural heritage.

Alexandra Silber: Preserving Brigadoon’s Magic with Modern Eyes

Silber’s adaptation of Brigadoon presents a different challenge: the 1947 musical’s whimsical Scottish village setting, while beloved, contains problematic gender dynamics and cultural stereotypes. Silber’s revision, produced by Pasadena Playhouse, focuses on refining the book’s dialogue and character arcs to reflect more equitable relationships while preserving the show’s fairy-tale charm.

Unlike Hwang’s more overtly political approach, Silber’s changes are subtle—adjusting lines to eliminate outdated phrasing, expanding secondary characters’ roles, and ensuring the story’s themes of love and escapism feel universally resonant. “The score is already perfect,” Silber noted in a recent interview. “Our job was to make sure the book didn’t hold the story back.”

The Pasadena Playhouse production, running concurrently with Flower Drum Song, highlights how even musicals with fantastical settings can benefit from modern sensibilities. By addressing these elements, Silber ensures Brigadoon remains a timeless escape rather than a relic of its era.

Broader Implications: The Future of Musical Theater Revivals

The work of Hwang and Silber is part of a larger movement in American theater to reexamine classic works through a contemporary lens. Organizations like Encores! and the Kennedy Center have increasingly embraced book revisions as standard practice, recognizing that preservation and progress are not mutually exclusive.

Yet the process isn’t without controversy. Purists argue that any deviation from the original script risks diluting the artist’s intent. Critics of Flower Drum Song’s original book, for instance, have debated whether Hwang’s changes go far enough or risk losing the show’s historical context. “The tension between honoring the past and serving the present is what makes this work so fascinating,” says theater scholar Broadway.com.

What’s clear is that the conversation around musical theater adaptation is evolving. As Hwang and Silber prove, the goal isn’t to erase history but to reinterpret it—ensuring that the art form remains dynamic, inclusive, and true to its original spirit.

What’s Next: Upcoming Revivals and Adaptations

The success of these productions may pave the way for more book restorations in the coming years. Theaters like the Goodman Theatre in Chicago and the Mark Taper Forum in Los Angeles are already exploring similar projects. Meanwhile, Broadway itself has seen recent examples, such as the 2023 revival of Kiss Me, Kate, which updated its gender dynamics while retaining its witty dialogue.

For now, audiences in Los Angeles can experience two of the most ambitious adaptations of 2026 firsthand. Flower Drum Song at East West Players and Brigadoon at Pasadena Playhouse run through June 15, offering a rare opportunity to see how classic musicals can be reimagined for the 21st century.

Have you seen these revivals? What do you think about updating classic musicals? Share your thoughts in the comments below—or tag us on social media with #BookRestoration.