Welsh National Opera: Madam Butterfly At The MayFlower Theatre, Southampton Review

Reviewed by Jane Warwick

The Welsh National Opera presented an excellent evening’s entertainment at the Mayflower theatre on Tuesday and provided a challenging and controversial interpretation by Director Lindy Hume of one of the world’s best loved operas.

The advertising for this production made clear that it was a reimagining of Puccini’s famous opera interpreting Butterfly’s story through a 21st century lens. This was certainly the case! Gone was the Japanese influence, the colourful kimonos and the turn of the century setting to be replaced by a simple, white, revolving stage set in a dystopian present with strange, mainly white costumes. But it worked! In fact, reading the surtitles made it clear that this tale of sexual exploitation by the rich and privileged was all too relevant in 2021 with the memories of xxxxx (editor’s note – name removed) and xxxxx (editor’s note – name removed) always at the fore.

The opera starts with an American Naval Officer, Lieutenant Pinkerton about to be married to a fifteen-year-old bride, Cio-Cio-San (Butterfly) in Nagasaki. The marriage has been arranged by a ‘marriage-broker’ Goro who explains that both the marriage, and the house that he has recently leased, have convenient exit clauses. This clearly suits Pinkerton who appears infatuated with the girl but is not interested in long-term commitment. His compatriot, the American Consul, Sharpless explains that Butterfly is taking the marriage seriously and Pinkerton should proceed with caution. Butterfly then arrives with her family and friends and explains how her family has lost all their wealth, her father has committed suicide and she has been forced to entertain as a ‘hostess’ (geisha) to support her impoverished mother. She is now an excited bride-to-be who is determined to satisfy her husband and has secretly been adapting to his American way-of-life and beliefs. The wedding proceeds, but the celebrations are interrupted by her much feared uncle, Bonze who condemns Butterfly for betraying her beliefs and culture. Her family and friends denounce her and only her servant Suzuki remains loyal. Butterfly, however, is in love and convinced that her life has changed for the better. Sadly, her romantic idyll is shattered when Pinkerton deserts her soon after their marriage, but she lives in hope that one day he will return.

Three years later, Cio-Cio-San, her young son and her faithful servant Suzuki are living in poverty. They constantly argue about whether Pinkerton will ever return and Goro, the marriage-broker tries to arrange another marriage to a rich suitor, Yamadori. Even when Sharpless tries to break the news to her that Pinkerton does not wish to see her again she refuses to listen and when an American ship arrives in port, she is convinced that Pinkerton has returned for her. But this is not to be as he now has an American wife, and they intend to adopt the child to ensure that he has a better life. Butterfly is heartbroken and inconsolable. She commits suicide, using the same weapon her father used and Pinkerton discovers the blood-soaked body.

This production is sung in Italian with English surtitles which made following the action very straight forward. Although written in 1904, the script could easily have been written today and the themes of sexual exploitation, abuse of power and clash of cultures are as relevant now as they ever were. By removing the spectacle and historical context of turn-of the century Japan, this is a much bleaker production of the opera than we are used to and forces us to confront the harsh realities of what is happening in the world now.

Joyce El-Khoury played the key role of Butterfly and gave a powerful performance. Her rendition of the famous aria, Un bel di (One fine day) received well deserved applause and she brought considerable emotion to her dramatic role. She was ably supported by Anna Harvey playing the role of her loyal servant, Suzuki. Leonardo Caimi played a very believable Pinkerton ranging from self-assured and arrogant to grief stricken and full of remorse. Mark Stone was an excellent, and sympathetic, Sharpless whilst the supporting roles of Goro (Tom Randle), The Bonze (Keel Watson) and Yamadori (Neil Balfour) were all performed well.

Puccini’s score is well known and was very well executed by the orchestra ably conducted by Carlo Rizzi. At times the singing was overpowered by the orchestra but generally the music was powerful, emotional and moving.
The set was unusual to say the least. Butterfly’s two-tier condo revolves too frequently and I just did not understand some of the costumes. There was a delightful use of video projection at one stage and this could have been used more frequently to good effect. However, these are minor niggles of an otherwise thought provoking and moving production.

The Mayflower is an excellent venue and a deservedly popular theatre. There is one interval and a range of refreshments are available at the theatre. There is good parking and a good selection of restaurants within easy reach making it the ideal place for an enjoyable evening’s entertainment.

Rating: 4.5/5

Tickets cost £17 – £55
Madame Butterfly at Mayflower Theatre, Southampton from 2nd – 4th November.
For more information or to book tickets visit https://www.mayflower.org.uk/whats-on/wno-madam-butterfly-2021/
or call the box office on 02380 711811
22-26 Commercial Rd, Southampton SO15 1GE