A contemporary approach to the classic, heartbreaking tale of a woman abandoned by the man she loves. An all-women creative team brings a fresh vision to Puccini’s Madama Butterfly, in a modern, tradition-breaking interpretation of this beloved work.
This is a first-time collaboration with the OSU Dance Department and features the Columbus Symphony Orchestra.
Each performance of Madama Butterfly will include ASL Interpretation, provided by Stagehands Performing Arts Interpreting.
Review: Opera Columbus production of “Madama Butterfly” focuses on people not culture
Be the ultimate insider in the production process this fall, and underwrite one of our artists.
Arrive early on Sunday!
Learn more about the operas and the fascinating stories behind them with informative and lively discussions hosted by Joshua Borths, Director of Opera and Musical Theater at Capital University. Arrive 45 minutes early for these pre-show talks that are FREE to ticket holders, held in the Seneca Room at the Westin Hotel, and include complimentary desserts and coffee.
CAST & CREATIVE
CAST
Cio-Cio San – Janet Szepei Todd
Pinkerton – Daniel Montenegro
Sharpless – Eric McKeever
Suzuki – Zoie Reems
The Bonze – Thomas Petrushka
Kate Pinkerton – Karolyn Lee Gholston
Goro – Chandler Johnson
Prince Yamadori – Jeff MacMullen
Commissioner – Riccardo Jimenez
CREATIVE
Director – Crystal Manich
Conductor – Kathy Kelly
Choreographer – Susan Petry
Asst. Conductor/CM – Jason Hiester
Set and Costume Design – Court Watson
Lighting and Projection Designer – Tlaloc Lopez-Watermann
Rehearsal Pianist – Barbara Sahr
Stage Manager – Hester Warren-Steijn
DIRECTOR'S NOTES
Butterfly was attractive from the time of its premiere in 1904 because of its exoticism to western audiences. At the time “Japonisme,” the act of dressing up and doing tasks that were “Japanese,” was a fad in Europe after Asian ports opened up for trade late in the 19th century: the culture was different and, therefore, exotic. Travel to Asia was much too grueling and expensive if one wanted to experience it for oneself, so pictures, literature, and textiles provided the dream.
Performing Butterfly in the 21st century is influenced by a globalized sensitivity to other cultures and beliefs. Travel is easy. The Internet gives us answers. Television transports us. The imagined Japanese setting as seen by Puccini (who never went there) is a device from 1904 about something that happened “over there.” It is a far cry from our reality. To dress up as if for a pageant and smear on eyeliner to make someone “appear” Asian should most definitely be a practice of the past, and yet some opera companies continue do it in the name of what audiences “want” from the work.
This production for Opera Columbus combines the world of 19th century Japan with contemporary couture, views of race/religion, and the effect of clothing/behavior. The costumes are meant to evoke the proper lines and silhouettes of kimono and uniforms through a unique visual interpretation, connecting ageless emotion with a contemporary audience. There was no attention paid to race or ethnicity when rounding up the best singers possible for this particular production.
There is every reason to continue to produce Madama Butterfly, but keeping it in its early 20th century box does not gives it proper reverence. We owe it our fullest and most careful attention so that it may continue to ring across changing times in all of its beauty and sadness.
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