MADAMA BUTTERFLY LIKE NEVER BEFORE
Expect the unexpected and you won’t be disappointed.
But keep an open mind if you want to absorb the artistry of choreographer/ director Graeme Murphy’s daringly exploratory view contained in his techno-savvy production of Puccini’s Madama Butterfly that is showing in the grandeur of the Sydney Opera House until August 10.
It was Opera Australia’s challenge to follow up Moffatt Oxenbould’s mainstream staging in 1997.
And Murphy didn’t disappoint with his wonderful modernization of one of the most traditional and popular purely canon operas.
The production hits the mark from the very beginning with the stunning Madama Butterfly descending from the heavens bounded in a giant winged shibari.
The scenes transform into a upmarket orgy with men crawling and women suspended by ropes in the air.
Yet, revelently, the somewhat unsettling image works stunningly. Certainly Murphy’s use of 12 high-definition LED screens, a digital maze of sorts that somehow slides inside out, back and forth with submissive servants sipping on their liquids of desire.
The machinations of sex and technology is the core of Murphy’s artistry that does much, much more than simply point to people objectification.