ACT I
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The story opens with the ritual suicide of a disgraced Samurai warrior. In the final moments before his death he sells his only daughter, Butterfly, to the marriage broker, Goro. Put to work in a Geisha house, Butterfly is noticed by an American naval officer, Pinkerton, who is being entertained there with some of his naval comrades. Goro, with an eye for the main chance, tells Pinkerton that Butterfly can be purchased for a bride. Entranced by Butterfly, Pinkerton eagerly contracts with Goro to purchase her. Believing it to be a real marriage, Butterfly then prepares for her future with her new husband, betraying her own culture and adopting the christian faith.
Pinkerton and his friends arrive for the 'wedding'. The Geisha's dance joyfully as Butterfly and Pinkerton are marriage and the American Consul, Sharpless, is on hand to witness the signing of the marriage contract. Just then, a Japanes holy man arrives and denounces Butterfly, declaring her an outcast for turning her back on her own religion.
After the wedding guests have departed Butterfly is left alone with Pinkerton for their wedding night. She shies away from him at first but the dashing naval officer soon wins her over and her loneliness and disgrace are forgotten in the arms of her lover as they retire for the night. The next day Pinkerton returns to his ship, leaving Butterfly to begin 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 that time. In spite of this, she remains convinced that Pinkerton will someday return to her. Then Sharpless arrives with a letter from Pinkerton, Butterfly is overjoyed but her happiness turns to grief when the letter reveals that Pinkerton has no intention of returning to her. As Sharpless is departing, Butterfly calls him back and reveals Pinkerton's son.
More time passes. Goro arrives with a new suitor for Butterfly. Butterfly seems willing at first but she cannot forget her commitment to Pinkerton. She points to her ring and chases them away. Just then there is the boom of a cannon announcing the arrival in harbour of Pinkerton's ship. That night, Butterfly dreams of Pinkerton but her dreams are haunted by images of Pinkerton and his friends with other women, leaving her excluded.
Next we see Pinkerton sharing an intimate moment with his American wife Kate before leaving to meet with the Consul, Sharpless. Sharpless tells Pinkerton that he has a son and the stunned Pinkerton returns to his wife. The next day, Pinkerton, Kate and Sharpless go together to Butterfly's home but Pinkerton cannot face her and flees the scene. Butterfly rushes from the house, but instead of Pinkerton is confronted only by his American wife. Butterfly is forced to face the truth and can 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 culture there is only one answer for the dishonour she has suffered - ritual suicide. Using her father's Samurai sword, the only thing he left her, she sets herself free.
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| Playbill |
With two of the company's three principal female dancers hailing from Japan, and a Japanese/American ballet mistress (who is married to the Artistic Director) the NBT is well placed to put on a production encompassing a story from that region. And this production by David Nixon captured fully the essence of this tragic story.
Visually, this was a striking and colourful production. The costumes were realistic, varied, and beautifully made. The restrictive Japanese kimono as worn by the Geisha's is hardly a suitable garment for dancing, but these were cleverly made with hidden pleats of gauze material which gave the appearance of the closeness of the traditional garment whilst allowing easy expansion for the dancers movements.
The sets are minimal but pleasantly effective. The main set for most of the action contains a corner of a traditional Japanese wood framed, paper walled house in the left backstage, and leading away from it an arched wooden bridge in the right backstage - reminiscent of the kind of scene that is typical of Japanese blue pottery. The music is by Puccini with the addition of lots of atmospheric Japanese drumming.
The dancing was, as always from the NBT, of a high standard although, although the choreography was somewhat limited. Still there were numerous high points, my favourite sequences being the dance of the eight Geisha's at the wedding celebrations, dancing on pointe with revolving parasols, the main pas de deux of Pinkerton and Butterfly, and the joyful dance of Butterfly and Suzuki when they believe Pinkerton is returning.
The expressive Chiaki Nagao captured beautifully the fragility and timidity of Butterfly at the start of the story, whilst Darren Goldsmith was every inch the worldly American naval officer. Both are very elegant dancers and their extended pas de deux at the end of the first act where Pinkerton wins Butterfly's heart and brings out her passion was superbly done. Chiaki's death scene, bathed in red light, was a real tear jerker. Pippa Moore for me was a revelation as Butterfly's maid Suzuki, her acting ability as well as her dancing talents being brought to the fore. As already mentioned, her dance with Butterfly was one of my favourite sequences. Stephen Wheeler as the American Consul is another accomplished actor, giving the impression that he really cared about Butterfly’s fate. Also worthy of special mention was Hiranao Takahashi, another Japanese cast member, for his portrayal of the Holy Man and the wealthy suitor, whilst Ashley Dixon made an amusing Goro (playing it like a character from The Mikado).
An excellent production, colourful and innovative, capturing all the essence of the classic story.