Pupper power
An ingenious bilingual rendition of Puccini's Madame Butterfly has exposed some cultural faultlines

It would be easy to label this production troubled: songs which, although beautiful in Chinese, did not translate smoothly into English; Chinese actors refusing to wear costumes they saw as inappropriate; even a controversy that led to a Chinese government directive to change the ending.
Yet to do so would be to undermine the importance of Cho Cho, a production that director Peter Wilson says is not only the first musical drama presented in both Chinese and English, but a metaphor for relations between East and West, for imperialist oppression of China, and the emergence of its new and co-operative relations with other nations.
When we performed it in China people loved it, they were shocked, they had never seen anything like it
"It was one of the most challenging works I have ever done," he says of this new music theatre production, incorporating puppets and based on Puccini's tragic Madame Butterfly. The show has runs planned in Sydney next week and then Melbourne the week after. "Its challenges lay at the very core of the bilingual aspect of the play."
It is the story of a young woman (Cio-Cio San in the original opera) longing for the return of Pinkerton, her American naval officer lover and the father of her child. Madame Butterfly was set in Japan, but Cho Cho relocates the story to 1930s Shanghai with Cho Cho a 15-year-old Chinese girl.

The production, which has surtitles, stars Australian musical theatre's Scott Irwin as Pinkerton, David Whitney and Danielle Barnes Irwin, with Chinese pop singer and actress Wang Zheng as Cho Cho, and Chinese musical veterans Dong Wenliang and Du He.