Coppelia (RNZB:2014)

April 25, 2014 at 2:20 am | Posted in Ballet Review, Dance Review, Show Review | Leave a comment
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I saw the Royal New Zealand Ballet’s 2014 production of Coppelia the other night and really enjoyed it.

Martin Vedel has done a fantastic job; the story has been tweaked a little bit here and there, but it is still Coppelia – with the third Act retained. It is very much a ballet in three parts: down to the lighting, music and costumes. The general choreography is more to the Danish style – which given Vedel’s time with the Royal Danish Ballet School and Royal Danish Ballet, and the Company’s origins is perfect.

The first Act is lots of fast precise footwork. The lighting and costumes succeeds in creating a festival atmosphere in a peasant village. It is all fun and frivolity – just what you might expect at a harvest festival in Hungary. Mayu Tanigaito brings a bright mischevious perky touch to the role of Swanhilda. Alayna Ng playing the role of Swanhilda’ mother brings a number of (probably) unintended visual elements – she does look like she could be Ms Mayu’s mother and she looks like she might have stepped out of a Gauguin painting :-)!

Mayu’s dancing and acting are great; she is technically very proficient, and injects personality and character into her role. She is a perfect choice for the role.

The czardas – danced by Madison Geoghegan, Lori Gilchrist, Laura Jones and Kirby Selchow – are bright and a little saucy. Their red costumes, with match red-and-gold head bands, and red boots, looked like of what you might get if you dressed the Veela (from Harry Potter) in Wonder Woman outfits.

The friends – danced by Clytie Campbell, Abigail Boyle, Bronte Kelly, and Maree White – are by turns lead, cajoled, and flattered into all sort of mischief by Swanhilda. The dancing and acting of this group in interacting with Swanhilda sets the tone for the ballet. Act I ends with Swanhilda and her friends sneaking into the house of Dr Coppelia – to introduce themselves to the ‘new girl in town’; and her on-again-off-again fiance Franz (Alexander Idazak), using a ladder to climb up to the Dr Coppelia’s balcony – to checkout the ‘new girl in town’.

The second Act is darker and takes place entirely in Dr Coppelia’s workshop. Swanhilda and her friends discover that the ‘new girl’, who is always reading studiously in the window, is in fact a giant doll. In fact the whole workshop is full of dolls. Dr Coppelia comes in and ejects the friends; Swanhilda for some reason hides and stays behind. So she is on hand to save Franz from having his life-force drained from him and placed in a doll. Swanhilda manages to drag a semi-concious Franz out of the workshop, in the process she breaks the doll.

The beginning of the second Act contained one of the best use of contemporary dance I have seen. Maclean Hooper dances as a undressed androgynous doll – named aptly “Limbless”. It is both comic and slightly sinister.

The third Act picks up where the first Act left off: the festival draws to a close with various couples getting married. Swanhilda and her friends all get married. It is an opportunity to dress in white, for pas de deux‘s, for set pieces, and for solo’s. Ima and Zoltan (Clytie Campbell and Joseph Skelton) get solos – Skelton gets some amazing elevation. Some of Petipa’s characteristic choreography peaks through. There is a sequence where Swanhild and Franz, to show their joy and love for each other, do a series of pirouettes and jump turns. Vedel has a playful sequence which has Swanhida literal jumping into Franz’s arms – she lands in his arms in a horizontal position, chest out towards the audience.

Skelton and Idazack have excellent elevation in their jumps and great control in their turns.

Mayu is light and precise: her fouettes and arabesques are rock solid, and her sissonnes seem effortless.

Go if you can get tickets.

PS: The doll’s balcony is ‘stage left’.


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