Madama Butterfly – Empire Theatre

Ellen Kent’s current revival of her original production adds layers of tone and colour to further enhance this sensitive and moving portrayal of Puccini’s devastating tragedy about a young geisha who falls in love with an American naval officer.

Marriage broker Goro (Ruslan Pacatovici) shows US naval lieutenant Pinkerton (Davit Sumbadze) around the home he will share with his bride-to-be in Nagasaki, although American Consul Sharpless (Iurie Gisca) warns him of the tragic consequences that may follow. The Butterfly duly lands in the form of young Japanese girl Cio-Cio-San (Elena Dee) supported by maid Suzuki (Yelyzaveta Bielous), and they are married by the Commissioner (Vitalii Cebotari). Her love makes her willing to sacrifice everything which sees her disowned by her uncle, a Bonze (Valeriu Cojocaru).

Three years on and Cio-Cio-San and Suzuki are almost destitute as they await Pinkerton’s return. Shunning suggestions that she should follow local custom to divorce him and marry Prince Yamadori (Cebotari) instead, her hopes are raised by the arrival of Sharpless with a letter although he chooses not to reveal its full contents when she introduces him to her son by Pinkerton, Sorrow. The sound of a cannon from the harbour heralds the arrival of Pinkerton’s ship but after she emerges from a long night’s vigil, it is not him she discovers in the garden the next morning but another woman (Anastasiia Blokha): are our Butterfly’s hopes to finally be fulfilled or will tragedy ensue as the price of her honour?

Kent is renowned for her traditional approach and attention to detail, which is reflected in the wonderful set and staging framed by a flower-laden garden – complete with running water features – and foliage with a Hokusai-inspired backdrop to a paper house complete with sliding doors and lanterns. This colourful palette is equally matched by the traditional kimonos and robes that places us firmly in 19^th Century Nagasaki.

Valeriu Cucarschi’s lighting design delightfully captures the change of season and time of day contrasted by the backdrop of a shimmering sea. The clever use of silhouette provided a powerful visual medium at key moments, and which supplemented the emotion that conductor Vasyl Vasylenko wrought from the Orchestra of the Ukrainian Opera and Ballet Theatre, Kyiv, with their ‘Coro a bocca chiusa (Humming Chorus)’ an absolute joy.

Sung in its original Italian with English surtitles we were treated to some wonderful choreography from Stage Director and Chorus Master Victor Donos, with students provided by Liverpool Stagecoach.

As with her set, Kent is able to achieve incremental gains from the long-standing relationship between the cast’s principals whose strong chemistry adds to the powerful, emotional, and heartbreaking scenes, with Sumbadze delivering a strong portrayal of a self-interested man driven by obsession with his strong vocal reminiscent of a young Pavarotti.

Gisca’s fine vocal complemented his strong acting which perfectly caught the frustrations of a well-meaning but ultimately toothless official and I particularly enjoyed his ‘Io so che alle sue pene’ with Sumbadze and Dee, who in turn delivers a memorable and mesmerising performance throughout with her beautiful rendition of ‘Un bel do vedremo’ cementing her reputation as a leading Butterfly who leaves memories that continue to pluck at your heartstrings long after the deserved ovations have died down.

Madama Butterfly is one of three productions touring throughout the UK and Ireland with full details available at www.ellenkent.com.

Reviewer: Mark Davoren

Reviewed: 8^th February 2025

North West End UK Rating: