Spellbound by dance of utter delight

From the archive, first published Thursday 9th Feb 2006.

Being a northern lad, I was of course brought up to think ballet was for soft, effeminate types from down south.

However, my first experience of the real thing, courtesy of the Northern Ballet Theatre's (NBT) wonderful re-working of the classic opera, dispelled all the usual clichés and left me humming in the stalls.

With Puccini's fabulous score allied to a stunningly controlled performance from Chiaki Nagao as Butterfly, a packed house at the Alhambra was left spellbound from start to finish.

NBT director David Nixon must be applauded for putting a new spin on the opera by bringing the importance of honour in Butterfly's Japan to the fore.

During the opening scene, when Butterfly's father commits suicide, and throughout the staging of her own death, Nixon does not use Puccini at all. Instead, he reverts to the Japanese music-and-theatre ritual of kabuki to highlight the solace and freedom found in tradition.

These scenes contrast with the rest of the production, during which he reverts to Puccini's score.

A true sense of the Far East is also provided by the excellent design team (Ali Allen and Peter Mumford), who use light and location to add to the exotic and heady atmosphere.

Nixon's choreography contrasts subtle, controlled movements of the Japanese with big, brash statements from the Americans.

But it is Nagao's performance which steals all the plaudits. Ably supported by a talented young cast, including Darren Goldsmith as charismatic naval officer Pinkerton, Nagao brings Puccini's musical poetry alive.

After abandoning her religion and marrying Pinkerton in a sham ceremony, Butterfly is left aghast when her new beau sails for America.

Three years later, the cad returns with new American wife Kate - leaving Butterfly to resort to the only thing she has left - her culture.

The final scene, which sees her free herself from dishonour through ritual suicide on a blood-red stage, brings the curtain down on the tragedy - but not Nagao's ethereal performance, which provides an effective snapshot of the historic and secretive world of the geisha.

A must for ballet afficianados and amateurs alike.

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