Conducted by Nicholas Milton – Directed by Graeme
Murphy
Designed by Michael Scott-Mitchell – Costumes designed
by Jennifer Irwin
Video and projection design by Sean Nieuwenhuis
Joan Sutherland Theatre until 10th August 2019
Performance on 1st August, 2019, reviewed
by Bill Stephens
Your response to this production will no doubt depend
on how many other productions of “Madama Butterfly” you’ve experienced. If your
preference is for a storybook telling of the tragic tale of a woman forced by
the betrayal of her lover, the father of her child, to sacrifice her own life
to insure her son a better life, as no doubt the composer intended, then Graeme
Murphy’s interpretation may take a little getting used to.
On the other hand if, aware of Murphy’s penchant for
re-inventing the classics, you’re open to consider some diverting new
perspectives on this wonderful old warhorse, then add this production to your “must-see”
list.
Murphy’s spectacular new production, while adhering to
the familiar storyline, offers plenty of new possibilities for the audience to consider
in a spectacular production that places his characters in unfamiliar, if perfectly
appropriate, new surroundings.
In this production the characters use iPhones, they
spray rooms with floral perfumes from spray-cans rather than strewing them with
flowers. When Butterfly proudly welcomes Sharpless to her house with the words
“Welcome to an American house”, it’s left to the audience’s imagination as to
how she has redecorated. Indeed the surroundings are initially quite
colourless, then unexpectedly ablaze of brilliant colour, thanks to the
stunning LED screen visuals of Sean Nieuwenhuis and Michael Scott-Mitchell’s
constantly revolving setting which allows whole wedding processions to glide
silently around the stage, and for Butterfly’s words to float into the air,
then flutter silently to the floor around her at the conclusion of “One Fine
Day”.
Having been totally entranced by Murphy’s concept and
the performances of the opening night cast, the opportunity to see how Mariana
Hong (previously known as Hyseoung Kwon) and Diego Torre, the alternate cast in
the roles of Cio-Cio- San and Pinkerton, both having previously performed these
roles in Moffatt Oxenbould’s much admired production, would vary their
interpretations to accommodate Murphy’s bold new concept, was irresistible.
Between opening night and this second viewing, slight tweaking
of the technicals has allowed the production to season beautifully. Apart from
the roles of Cio-Cio- San, Pinkerton and Suzuki (Agnes Sarkis at this
performance), all the other roles were performed by the same cast as on opening
night, all now offering more deeply nuanced performances, especially Michael Honeyman whose finely honed
portrayal of Sharpless has deepened notably.
It’s hard to imagine a more moving interpretation of
Cio-Cio-San than that offered by Mariana Hong who appeared to be living the
role rather than acting. Her lustrous
singing flowed effortlessly as responses to the varying situations. Coquettish
when first meeting Pinkerton, sensuous as they consummated their wedding night,
hanging on every word as Sharpless translated Pinkerton’s letter to her,
distraught at the realization that Pinkerton had married in America. Her
performance is totally enthralling throughout. She also moves gracefully so
that the dreamy dance she performs with dancer, Teagan Lowe, appears totally
natural. A remarkable achievement given the precarious setting on which it is
performed. Hers is a performance to
cherish and was given a rapturous reception at this performance.
Similarly, Diego Torre, who, although not physically
ideal for the role, quickly banished any reservations with his stunningly sung,
passionately delivered performance for which he was totally invested in the
role. Just watch his responses as
Sharpless reads out the conditions of the contract for his marriage-at- first-
sight to Cio-Cio-San in the early moments of the opera.
Agnes Sarkis brings warmth to her interpretation of
Suzuki, who, in this production, is not nearly as compliant as usually
interpreted. She makes Suzuki’s disapproval of Pinkerton and the America he
represents, obvious from their very first meeting. Suzuki’s frustration at
Cio-Cio-San’s refusal to face the reality, as well as her efforts to protect Cio-Cio-San
from the knowledge that Pinkerton is planning to take away their son, knowing
the inevitable result, are touchingly depicted.
Unfortunately there are no images available of the alternate cast in this production.
