Secret Opera presents this production of G. Puccini’s Madama Butterfly as part of The Gender Project, which intends to approach opera from a LGBT point of view and with an open mind about casting. This production – directed by Robin Pietà – has been done traditionally, without updating it to the present day and with almost all its original characters.
In clear contrast with Secret Opera’s other current production, CarMen, this Madama Butterfly tries to be faithful to the original as much as possible, from the sets to the final scene, when Cio-Cio-San stabs herself behind a Japanese screen, as devised by the composer. It is therefore a simple production that, among other changes, substitutes Dolore (Cio-Cio-San’s son) for a framed photo. A cast of seven attempts bringing this heart-breaking story to life, with irregular success.
Paul Bork as ill-fated geisha Cio-Cio-San gave a beautiful, heartfelt performance. Although, slightly lacking dynamic changes – sometimes more contrast between piano and forte would have been welcome – he managed to give the character power, gracefulness and a grave dignity. In his more dramatic, Bork’s voice soared and filled the auditorium, and Butterfly’s pain was real and believable. Opposite him, singer-pianist James Hodgson as Lieutenant Pinkerton showed a warm voice. However, his upper register felt forced and lacked projection, which was particularly noticeable when singing together with Bork (in love duet Viene la sera, for example). A special mention must go to the singer who took over the role of Suzuki at very short notice, so short she had to perform holding a tablet with the score. She did a remarkable job despite the circumstances – her flower duet with Bork was delicate and harmonious – but sadly there were no signs with the singer’s name to identify her properly. The rest of the cast included Colin Morris as Sharpless, Roger Paterson as Goro and Graham Stone and Fiona Wilson covering several characters each. While they all were effective and correct in their roles, there were moments in which the voices sounded strained, showing possibly signs of exhaustion.
A traditional production that, though at times too simplistic in its approach to Japanese culture (i.e. Goro with his hands together throughout the show), delivered in principle what Puccini intended: a simple, unchanging stage. With a strong lead performance and the genius of Puccini’s music – thanks to accompanying pianist Andrew Charity – this Madama Butterfly proves that, when casting a show, quality comes before gender.
Madama Butterfly played at the LOST Theatre until March 2. For more information, see the LOST Theatre website www.losttheatre.co.uk