Part of the original score of Flower Drum Song, “The Other Generation” was not included in the 2002 Broadway revival version. In this charming number lampooning the generation gap, Liang and Wang complain about their younger family members.

Mei-Li returns, telling Ta that “the love of the flower boat maiden does not turn the scholar into a god. He has always been a god.” Acknowledging and declaring his love for Mei Li, Ta finally recognizes his own strength.

Seeing no serious romantic interest from Ta, Mei Lin has decided to return to China and marry Chao. Standing on a dock, surrounded by other Chinese men and women preparing to sail home, she tells herself she’s better off without love.

Wang (now known as Sammy Fong) and Rita Liang share a moment at a Chinese restaurant. Despite their growing attraction, they warn each other not to get too close.

Onstage at Club Chop Suey, Wang – in his stage persona of “Sammy Fong” – appears in a new act. Dressed as a chef, he performs an outlandish nightclub number featuring dancing chopsticks and chorus girls in take-out cartons. Ta, appalled by the display, feels his father has traded dignity for financial success.

Harvard, a young man who has agreed to make all the costumes in exchange for a features spot, just isn’t cutting it in his sailor number. Wang assumes the role himself and expertly leads the company with charm and finesse.

At the grand opening of the new Club Chop Suey, Linda, inspired by Mei-Li’s idea of using fans, kicks things off with a smoky, sexy number.

When Mei Li shares her inability to grasp American dating habits, Ta playfully assures her that she’s the kind of girl whose appeal is much simpler; someday a special guy will want to spend an idyllic Sunday with her.

Madame Rita Liang intends to transform the Golden Pearl Theater into the hottest nightspot in Chinatown. She inspires everyone with a grand vision of Grant Avenue, a bustling and successful place where Western tourists can see some “exotic” – but palatable – Chinese culture.

When Ta calls the story of the Flower Boat Maiden “corny,” Mei-Li disagrees, defending it as a beautiful tale in which the maiden makes the humble scholar realize he is a god.

Encouraging Mei Lin to pursue a relationship with Ta, Linda extols the power of women in “the land of opportunity.” Joined by a chorus of fawning men, Linda continues her celebration of femininity in a showstopping number at the Golden Pearl’s Nightclub Night.