Madama Butterfly Review: Celine Byrne Excels as Cio-Cio-San
In Irish National Opera’s 1904 Puccini production, the brief, bustling overture transitions into a casual discussion about traditional Japanese homes with their sliding partitions. For the Irish National Opera and Scottish Opera coproduction, designer Kat Heath enlarges this subtle element into a striking set made of massive movable panels that dominate the stage throughout the opera.
The panels’ imposing size fits perfectly on the Bord Gáis Energy Theatre stage. Their ability to move laterally and horizontally creates a range of settings — from intimate to grand. The neutral color allows Jake Wiltshire’s lighting to express moods and times of day effectively. The panels neither distract nor overwhelm; instead, they enable surprise reveals and character removals, sometimes simulating a camera lens effect with zooms, adding a cinematic layer.
This cinematic approach supports the production’s director, Daisy Evans, in delivering emotional immediacy.
“Somehow they are not distracting and allow for surprises and for either revealing characters or suddenly removing them from view. And sometimes they create the illusion of watching through a camera lens, zooming in, zooming out.”
Celine Byrne’s portrayal of Cio-Cio-San stands out as confident and proactive, contrasting the usual depiction of the character as naive and vulnerable.
“Celine Byrne’s character is assured and forward-thinking rather than naive and vulnerable.”
Kat Heath’s oversized set design, combined with Jake Wiltshire’s lighting and Daisy Evans’ direction, crafts a visually and emotionally compelling interpretation of Puccini’s classic.
Author’s summary: Celine Byrne’s assured performance and a striking, movable set design bring fresh emotional depth and visual innovation to Irish National Opera’s Madama Butterfly.