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"Madame Butterfly" is an ensemble ballet with six main characters and a cast of 50, but the success of the story is solely dependent on the timing, musicality and emotion of the lead ballerina. Wednesday night at the Capitol Theater, first soloist Sayaka Ohtaki moved the audience to tears followed by six bows.
Ohtaki said in an interview earlier this month that she has been in the United States so long (nine years), she forgets she is Japanese. Yet the complex emotional spectrum of retaining fragility while gathering strength is rich with authenticity and intrinsic in Ohtaki's movement quality. Principal dancer Chase O'Connell, the naval officer Pinkerton who ultimately betrays Butterfly (Cio-Cio San), brings a confident ease to his triple turns and long, luscious arabesque. Ohtaki and O'Connell are a great match onstage, physically and expressively.
The strength of Act One is the love pas deux that is technically difficult and incredibly passionate. Winding and extending around each other's bodies, the choreography artfully depicts the wedding night pas de deux as a first experience.
Rarely do audiences get to see a grande jeté caught at the top of the leap, or the ballet lift known as the fish dive that ends low to the ground. Yet those are just snapshots between the elaborate and sensual pas de deux in each act.
The supporting cast was equally strong Wednesday night, with Jenna Rae Herrera as Butterfly's loyal maid melding gesture with dance to create a believable character. Adrian Fry, whose dancing is always polished, has matured as an actor and effectively portrayed the American consul Sharpless' heartfelt disapproval of Pinkerton's insensitivity.
As Goro, the notoriously selfish marriage broker, Oliver Oguma slyly insinuates himself into each scene with quick leaps and sharp angled turns. In Act 2, Tyler Gum offers up comic relief as the adoring Prince Yamadori, in a simple and sweet pas de deux with the teasing Butterfly. Allison DeBona brings depth by way of compassion to her portrayal of Kate, Pinkerton's American wife, who might otherwise be a stock mean-girl character.
Choreographer Stanton Welch closely follows the opera and the ballet score that has been smartly shaped by John Lanchbery from the Puccini original — fundamentally a roadmap for the emotional complexity of the story. Welch's stylized movement interestingly breaks from the traditional story ballet mode, and bourrées never seemed so right as when Welch peels away layers of sets and dancers to reveal a quiet moment behind.
For those who don't often go to the ballet, "Madame Butterfly," at just under 2 hours with a strong story and emotional arc, is a perfect introduction to classical ballet. And for those who do see dance often, it is a production that takes tradition and makes it new again. 'Madame Butterfly'
A great way for non-balletgoers to cut their teeth on classical ballet. For balletomanes, a high-quality production blending tradition with choreographer Stanton's Welch's stylized movement.
When • Reviewed Nov. 9; continues Nov. 10-12, 7:30 p.m., with 2 p.m. matinees Nov. 12-13
Where • Capitol Theatre, 50 W. 200 South, Salt Lake City
Tickets • $19-$87; artsaltlake.org, 801-869-6920 or at the box office
Running Time • Two hours with one 20-minute intermission