Puccini’s Madama
Butterfly is one of the most beautiful, tragic love stories in opera
history. It’s also rife for modernisation and reinterpretation, as the
exceptional Miss Saigon can attest
to.
One particular area of interest is the ambiguity in
Lieutenant Pinkerton’s true feelings for the young Butterfly, something that’s
brought to the fore in this modernised version at the Kings Head Theatre,
directed by Paul Higgins. By transferring the opera to present day, Higgins
hopes to highlight Japanese patriarchal society and the over-sexualisation of
school girls. Here, Matthew Kimble’s Pinkerton is a sleazy American permanently
attached to a bottle of Jack Daniels. He prays on the youthful Butterfly (Becca
Marriott) with a smarmy grin, she dressed in girlish Harajuku fashion. It
certainly adds a new angle to the opera, but it’s an uncomfortable watch. “I
want you to love me, to love me very gently, to love me like a child,” sings
Butterfly, in this new translation from Amanda Holden. From the characterisation,
there’s a disturbing disconnect between the intentions of Pinkerton and
Butterfly.
Just as Pinkerton shows a lack of respect for Japanese
culture – laughing at her traditions and frequent bows – so too does Higgins. Only
last month Notting Hill’s Print Room theatre was accused of “yellowface” for
its all-white cast. It’s a topical issue and whilst Higgins may have good
intentions for this production, the casting feels out of touch with current
politics. What’s worse is the cartoonish characterisation. The inspiration may
be Japanese manga comics, but from the pursed lips of Sarah Denbee’s Suzuki to
the comically wide-eyed innocence of Butterfly, it feels more like playing on
stereotypes for laughs rather than a profound use of modern cultural identity.
As Marriott shuffles around the stage, bows and flutters her eyelids whilst
clutching a Hello Kitty doll, it utterly undermines any sense of drama or
tragedy.
Indeed, a few bright neon colours and a shuttered backdrop
do not represent the varied cultures of Japan and its mix of advanced
technology and honourable tradition. The modern setting adds little to this
production, even whilst there may be some truth to the interpretation. The
second half does improve as the performance becomes a more straightforward
tragedy, but it’s not enough to undo the damage of the first. It’s simply not
credible that this reinterpreted Pinkerton would ever return, that he
would suddenly have a conscience, or that he should have any form of
redemption. And, when Butterfly and Suzuki complain of their lack of money, why
is Butterfly seen listening to an iPod? Hasn’t she heard of eBay?
There is some fine singing here even with the miscasting, Marriott
hitting all the right notes despite the characterisation and Sam Pantcheff
singing a rich baritone as US consul Sharpless. Puccini’s score is reduced to
piano and cello, but sadly musical director Panaretos Kyriatzidis and cellist Alison
Holford struggle to contain a whole orchestra beneath their fingers.
Where so many opera productions cling to tradition, it’s
brave of Higgins to bring something new to this beloved work – something the
Kings Head Theatre is well known for. Yet in today’s highly politicised
world and climate of ethnic sensitivity, this production is sadly misguided.
2/5
Watch: Madam Butterfly runs at the King's Head Theatre until the 18th March.
Photos: Christopher Tribble