REVIEW: Madama Butterfly

Anyone who saw Moffat Oxenbould’s exquisite staging of Madama Butterfly should thoroughly expunge it from their mind if they hope to even find an entry point in Graeme Murphy’s diametrically opposite interpretation.

Where Oxenbould employed minimalism, delicacy, and understatement, Murphy has fully exploited every visual effect to the max. There’s no warm-up either. In the opening scene, a web-like structure made from red shibari rope descends from above with a dancer suspended Christ-like in its centre. Other ropes hold dancers tied up bondage style. This sets the tone for the rest of the performance, not only thematically and visually, but in its overt messaging. Whether or not you like Murphy’s unorthodox, avant-garde approach, it is hard not to cringe at some of the in-your-face symbolism.

The set is surrounded by screens on which video and laser projections feature throughout. The images are often bold shapes with vivid colours which become obtrusive. As you might expect, Murphy calls on his background as a choreographer and includes a number of dance sequences; it’s debatable whether they add anything to the story. There’s an overall sense of “too much.” Murphy fills every minute and every square metre with something and doesn’t leave any breathing space.

As far as performances themselves go, Karah Son is astounding as Cio-Cio San (Butterfly), utterly soaring during the famous aria. Sian Pendry plays a feisty, wilful Suzuki. Andeka Gorrotxategi plays Pinkerton with the right blend of cockiness, naivety and cowardice.  Virgilio Marino as the matchmaker, Goro, is malevolent and slimy.

As with any production that takes bold creative risks, this will divide people. Anyone who enjoys a departure from the usual should probably have a look.

Until Aug 10. Sydney Opera House, Bennelong Point. $39-$361+b.f. Tickets & Info: www.sydneyoperahouse.com

Reviewed by Rita Bratovich