Madame Butterfly By Northern Ballet Theatre December 21, 2007

Time: 2007/12/21-2007/12/23
Venue: Poly Theatre
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Synopsis
ACT I
Programme
The story opens with the ritual suicide ofa disgraced Samurai warrior. In the final moments before his death hesells his only daughter, Butterfly, to the marriage broker, Goro. Putto work in a Geisha house, Butterfly is noticed by an American navalofficer, Pinkerton, who is being entertained there with some of hisnaval comrades. Goro, with an eye for the main chance, tells Pinkertonthat Butterfly can be purchased for a bride. Entranced by Butterfly,Pinkerton eagerly contracts with Goro to purchase her. Believing it tobe a real marriage, Butterfly then prepares for her future with her newhusband, betraying her own culture and adopting the christian faith.
Pinkerton and his friends arrive for the 'wedding'. The Geisha'sdance joyfully as Butterfly and Pinkerton are marriage and the AmericanConsul, Sharpless, is on hand to witness the signing of the marriagecontract. Just then, a Japanes holy man arrives and denouncesButterfly, declaring her an outcast for turning her back on her ownreligion.
After the wedding guests have departed Butterfly is left alone withPinkerton for their wedding night. She shies away from him at first butthe dashing naval officer soon wins her over and her loneliness anddisgrace are forgotten in the arms of her lover as they retire for thenight. The next day Pinkerton returns to his ship, leaving Butterfly tobegin a long vigil awaiting his return.
ACT II
Three years have passed since Pinkerton's departure.Butterfly has borne him a son but has heard no word from him in thattime. In spite of this, she remains convinced that Pinkerton willsomeday return to her. Then Sharpless arrives with a letter fromPinkerton, Butterfly is overjoyed but her happiness turns to grief whenthe letter reveals that Pinkerton has no intention of returning to her.As Sharpless is departing, Butterfly calls him back and revealsPinkerton's son.
More time passes. Goro arrives with a new suitor for Butterfly.Butterfly seems willing at first but she cannot forget her commitmentto Pinkerton. She points to her ring and chases them away. Just thenthere is the boom of a cannon announcing the arrival in harbour ofPinkerton's ship. That night, Butterfly dreams of Pinkerton but herdreams are haunted by images of Pinkerton and his friends with otherwomen, leaving her excluded.
Next we see Pinkerton sharing an intimate moment with his Americanwife Kate before leaving to meet with the Consul, Sharpless. Sharplesstells Pinkerton that he has a son and the stunned Pinkerton returns tohis wife. The next day, Pinkerton, Kate and Sharpless go together toButterfly's home but Pinkerton cannot face her and flees the scene.Butterfly rushes from the house, but instead of Pinkerton is confrontedonly by his American wife. Butterfly is forced to face the truth andcan scarcely resist when Kate takes her child from her.
Left alone, with her last reason for living taken from her,Butterfly takes refuge in returning to her own culture. In this culturethere is only one answer for the dishonour she has suffered - ritualsuicide. Using her father's Samurai sword, the only thing he left her,she sets herself free.
Impressions
With two of the company's three principal femaledancers hailing from Japan, and a Japanese/American ballet mistress(who is married to the Artistic Director) the NBT is well placed to puton a production encompassing a story from that region. And thisproduction by David Nixon captured fully the essence of this tragicstory.
Visually, this was a striking and colourful production. The costumeswere realistic, varied, and beautifully made. The restrictive Japanesekimono as worn by the Geisha's is hardly a suitable garment fordancing, but these were cleverly made with hidden pleats of gauzematerial which gave the appearance of the closeness of the traditionalgarment whilst allowing easy expansion for the dancers movements.
The sets are minimal but pleasantly effective. The main set for mostof the action contains a corner of a traditional Japanese wood framed,paper walled house in the left backstage, and leading away from it anarched wooden bridge in the right backstage - reminiscent of the kindof scene that is typical of Japanese blue pottery. The music is byPuccini with the addition of lots of atmospheric Japanese drumming.
The dancing was, as always from the NBT, of a high standardalthough, although the choreography was somewhat limited. Still therewere numerous high points, my favourite sequences being the dance ofthe eight Geisha's at the wedding celebrations, dancing on pointe withrevolving parasols, the main pas de deux of Pinkerton and Butterfly,and the joyful dance of Butterfly and Suzuki when they believePinkerton is returning.
Performances
The expressive Chiaki Nagao captured beautifully thefragility and timidity of Butterfly at the start of the story, whilstDarren Goldsmith was every inch the worldly American naval officer.Both are very elegant dancers and their extended pas de deux at the endof the first act where Pinkerton wins Butterfly's heart and brings outher passion was superbly done. Chiaki's death scene, bathed in redlight, was a real tear jerker. Pippa Moore for me was a revelation asButterfly's maid Suzuki, her acting ability as well as her dancingtalents being brought to the fore. As already mentioned, her dance withButterfly was one of my favourite sequences. Stephen Wheeler as theAmerican Consul is another accomplished actor, giving the impressionthat he really cared about Butterfly抯 fate. Also worthy of specialmention was Hiranao Takahashi, another Japanese cast member, for hisportrayal of the Holy Man and the wealthy suitor, whilst Ashley Dixonmade an amusing Goro (playing it like a character from The Mikado).
Verdict
An excellent production, colourful and innovative, capturing all the essence of the classic story.

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