REVIEW: MADAMA BUTTERFLY @ NEW WIMBLEDON THEATRE

🎭 Madama Butterfly

📍 New Wimbledon Theatre, 93 The Broadway, Wimbledon, London, SW19 1QG

🗓 Thursday 29th January 2026

⭐️ 3 Stars

A BEAUTIFUL YET UNCOMFORTABLE FAREWELL

Walking into the New Wimbledon Theatre on a crisp, January night, there was a palpable sense of occasion. This isn't just another revival; it's part of Ellen Kent's Farewell Opera Tour, a final curtain call for a producer who has spent three decades bringing grand, traditional opera to every corner of the UK

At the heart of this production is the devastating cultural clash between Eastern tradition and Western entitlement. The staging is classically Ellen Kent - lush, traditional, and visually stunning, featuring a spectacular Japanese garden and authentic antique kimonos, It provides the perfect, fragile backdrop for the tragedy of love that unfolds.

While some might find the traditional staging a little static in the first act, the sheer emotional weight of the second act more than makes up for this.

Puccini's score is, quite simply, an emotional powerhouse. From the delicate, anticipatory notes of the "Humming Chorus" to the soaring, tragic heights of "Un Bel Di" (One Fine Day), the live orchestra under the baton of the Ukrainian Opera & Ballet Theatre Kyiv is lush and delivered a performance that felt both intimate and expansive, painting the tragedy of love in broad, sweeping musical strokes.

The performances were nothing short of sensational. Viktoria Melnyk as Cio-Cio San (The Butterfly) was a revelation. She captured the character's journey from wide-eyed fifteen year old bride to a woman broken by betrayal with gut-wrenching realism. Her soprano voice is a force of nature - powerful, yet capable of the most tender, fragile phrasing. Her vocal control from the delicate "Flower Duet" to her final, shattering moments is masterful.

Hovhannes Andreasyan gave us a B.F. Pinkerton who was every inch the "love rat" we love to hate, proved by the boos he recieved during the curtain call! His robust tenor was ringing and confident, imbuing the character with a charming recklessness and careless arrogance that made the eventual tragedy even harder to swallow.

Yelyzaveta Bielous as Suzuki grounded the emotional anchor of the evening. She delivers profound empathy and her deep, resonant mezzo-soprano and her palpable devotion to her mistress created a bond that was truly moving to witness.

However, despite all the positives, viewing this through a contemporary lens, the "traditional" approach highlights the production's more problematic layers. The central cultural clash feels less like a tragic misunderstanding and more like a grim case study in the exploitation on vulnerability. The power dynamic inherent in the relationship depicted, often glossed over by the beauty of the music, feels increasingly difficult to stomach in a staging that doesn't interrogate this imbalance.

Furthermore, the issue of cultural representation in the chorus remains a sticking point. While the Ukrainian company's talent is undeniable, seeing a largely Eastern European cast in heavy Japanese-style makeup and styalised movements can feel like a relic of a bygone era. In a world moving towards more authentic representation, the aesthetic of the chorus sits uncomfortably alongside the genuine artistry on stage.

I noticed a few empty seats after the first act, and I wondered whether it was these issues that kept people from returning to watch the second act. If I'm completely honest, they were enough of an issue for me to reduce my star rating from four to three.

It's a night of soaring vocals and undeniable talent, but it's a production that reminds us that while the music is timeless, the staging of certain "traditions" is perhaps ready for its final curtain.

Neill Kovacic-Clarke

All views are my own and I pride myself on being honest, fair and free from influence. Theatre is subjective and it is important to remember that all views expressed are just those of one person.

My ticket for this performance of Madama Butterfly was gifted by New Wimbledon Theatre who invited me to watch the show in exchange for my honest review. The fact that my ticket was gifted played no part in the content of my review or the star rating given.

CAST LIST:

Viktoriia Melnyk as Cio-Cio San; Yelyzaveta Bielous as Suzuki; Hovhannes Andreasyan as B. F. Pinkerton; Iurie Gisca as Sharpless; Hovhannes Nersesyan as The Bonze; Ruslan Pacatovici as Goro; Vitalie Cebotari as The Commissioner / Prince Yamadori; Alessia Long as Sorrow

RUNNING TIME (approx):

2 hours 30 minutes, including interval

CONTENT WARNINGS:

Exploitation of a minor; Suicide; Cultural appropriation

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