Ellen Kent's Madama Butterfly Reviews

Sean Currie from London, England

AN UNFORGETTABLE EVENING IN WIMBLEDON!

After a decidedly indifferent Madama Butterfly at the Royal opera House many years ago it has taken me a long time to finally give this particular opera another try, and am I glad I did. Opera can be very subjective, but for me this was a definitive Cio Cio San. Elena Dee was nothing short of sensational, both in her singing and her acting. Her voice soared at times without ever faltering, her range impressive and her tone beautiful. The ovation she received at the end showed that most of the theatre were in complete agreement. But it was far from a one person show. The rest of the principal parts were also impressive, the staging simple which allowed the characters to take the focus. Touring sets can never replicate those of resident productions, but this was a good effort, and the use of lighting was very clever. The orchestra was almost flawless and understood their role perfectly, never once trying to upstage the singers. Ellen Kent does a wonderful thing bringing top class opera to the masses, with local venues and very affordable prices. I look forward to her 2024 tour with great anticipation. And as a footnote, never has the Ukrainian anthem sounded so good.

from Oxford,

THURSDAY 18TH PM SHOWING

I am but an amateur, to say the least. But one should only say what one sees. An immaculate presentation. It was a small theatre, I was sitting in a stall seat, row K28. I was spellbound by the modest, yet impressive talent. When there was humour, when there was tragedy and when there was sheer intimacy with those on stage and those sitting on seats it was raw and real. it was talent it was sheer worth every penny. Loved it and even cried when they brought on the child. Well done to the cast and producer and Ellen Kent.

Linda Boyd from Sheffield, England

MADAMA BUTTERFLY

Excellent

Jim Maxwell from Glasgow

WONDERFUL BUTTERFLY

A fabulous production in the Glasgow Concert Hall. The performance of Butterfly herself was the finest I've seen, an actress and singer of the highest quality. The curtain call with the Ukrainian flag was heartwarming. Well done Ellen for bringing this amazing production to us.

Andy Mackay from Brighton,

HUGELY ENJOYABLE BUT SOMEHOW SLIGHTLY LACKING

This is the sixth performance of Madam Butterly I have seen and it’s was good, but by no means great. Don’t misunderstand me, it was hugely enjoyable, still made me tear up in all the right places and I left feeling like I’d been through the wringer, however there were a few bits that just left me feeling like it’s been a long tour for this production. Butterfly herself was good vocally and certainly delivered the best acting performance I have ever seen for the role (if you place value in such things) but at times I felt like some of the singing from various characters was ‘just clocking in’ rather than coming from the depths of the soul and the humming chorus was hummed so quietly that my non-opera loving wife didn’t even realise that it was being hummed at all. Certainly didn’t leave disappointed but somehow felt like I’d been served slightly small portions.

Stephanie Turner from London, England

CHARMING MME BUTTERFLY

Sad to see such negative reviews for a production that I thought was West End standard singing on a provincial budget. It’s easy to sneer at the set but my friend and I thought it rather lovely, especially considering this is a whistle-stop UK tour of one-night stands. Madame Butterfly conveyed such innocence and fragility that when taking bows at the end the American Pinkerton was booed for his dastardly treatment of her - rightly so! The female chorus was lovely but it has to be said the male chorus performed as if they’d just been plucked from the street. If this company decides to perform in Wimbledon again I would definitely go - it’s nice to support small productions with big ideas.

Yasuo Tanaka 康夫田中 from Newcastle Upon Tyne,

EXCELLENT LEAD AND SUPPORTING CAST SUNDERLAND EMPIRE

The Empire production was carried by the lead and supporting cast with the exception of the role of Goro, his voice did not convey to the audience and at times was quite mute. However, attention should be drawn to the cultural misappropriation in the way that the cast protrayed the image of "Japanese". The thin moustache drawn onto the faces of the male support cast is a depiction of "Chinese", additionally the long plaided pony tail worn by Goro similarly is not "Japanese". It would appear that these are props from the pantomime Aladdin, and while it is accepted that this is a touring company using the resources of a local theatre, perhaps they should do a little more research. Unless of course, "we all look the same".

Page:123All