Reviews
MADAM BUTTERFLY

Worth the journey to see focused tale

This new production of Puccini's tragedy maintain the excellent standard of this adventurous company, with a detailed focus on the story supported by fine performances throughout.

Any production of Madam Butterfly hinges on its main characters, and Jillian Chatterton gives a moving portrayal of the young geisha, especially in her depiction of the life of poverty that faces her and her child. This is a point where the slightly creaky English translation comes into its own. Lindsay Day's Pinkerton is a creature of emotional weakness and great vocal strength, who just needs to refine his dynamic range to encompass the subtlety of Puccini's expression.

David Perry's Consul Sharpless is his best work so far, his natural reserve and dignity at the service of a fine vocal characterisation. Equally, Belinda Patterson, as Suzuki, is vocally and dramatically convincing. As the fatuous Goro, Philip Craig adds another character to his repertoire. The rapport between musical director Brian Chatterton and his small cast is exemplary.

Director Tessa Bremner, with her designer Sylvana Angelakis, has worked hard to create a dramatic vocabulary that brings the story to life with simple resources. The costumes are simple. All the props are mimed except the crucial dagger. The supporting cast are puppets - the furious uncle a red spectre, Kate Pinkerton, a blonde-wigged figurehead and the child, a doll.

The Japanese characters are in half mask - and the Americans are barefaced. Unlike other Co-Opera productions in cabaret style, this drama keeps the audience as witnesses and not as participants but, as it tours South Australia, the experience is worth a country drive.

Ewart Shaw, The Adelaide Advertiser, Wednesday 18 March 1998.

Neat packet travels well

There is much to be praised in Co-Opera's touring production of Madam Butterfly: the singing, the design and, not least, that they are taking their show to small communities throughout regional Australia.

The Tasmania leg of the tour by this South Australian based company began in Devonport, where the audience virtually brought the house down; such a community is grateful for any company coming to their town at all.

This production of Butterfly is enacted by five singers, with piano repetiteur. The singers double a couple of roles, and combine for the choruses. Extra characters appear as life-size puppets. Action is on a central two-tier stage topped by a discreet (enough) lighting rig.

For me, the highlight was David Perry's Sharpless. It's an easy role to like, of course, but Perry handled it with surety and aplomb. His baritone was weighted perfectly for the role and venue, never weak nor overblown. The character of Sharpless, with its mix of diplomacy and anguish, was drawn perfectly.

Jillian Chatterton was likewise appealing as Cio-Cio-San. She caught Butterfly's alternate gay and capricious moods in a lyrical rather than dramatic performance. Lindsey Day, Pinkerton, was unfortunately suffering a cold, which brought a strain to his upper register. He at times overpowered his colleagues.

Belinda Paterson was fine as Suzuki, although there were some disparity with Butterfly in their second act duet. Philip Craig sang well as Goro, but he had a tendency to ham, with his mouth hanging open in a grotesque grimace. Although perhaps appropriate to the part, this acting style was at odds with the rest of the cast.

Brian Chatterton makes a good fist of the score. It's a huge job for the piano, and apart from some problems with the faster passages, Chatterton keeps the music rolling. In this environment, it is relatively easy to forget about the missing orchestra.

Silvana Angelakis's use of puppets for the Bonze, Kate Pinkerton and the child was handling with skill. The puppets solve the problem of extra actors, but just as importantly contribute to the design aesthetics. Joel Beclu does a lot with a few lights.

The racial oppositions are represented through Japanese characters wearing masks and no shoes. In one sense, this is appropriate to the opera's themes - yet it emphasises the normalcy of the Americans/westerners, and uncritically confirms the "orientalism" of Cio-Cio-San. No one is expecting a major reinvention of the opera in this production, but maybe director Tessa Bremner could have been more sensitive to post-colonial revisionism.

The success of this production lies in the competent singing and the well planned scale of the production. With a minimum crew, this show can travel to centres that desperately want to see and hear live performance. Opera Australia's OzOpera would do well to compare how efficiently it uses its much greater resources.

Martin Ball, The Australian, Friday 29 May 1998.

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