Peter Wright’s stunning production of Coppelia is like stepping through a magic portal into dreamland.
Danced in the presence of Sir Peter himself, a true genius and magician, this was one of those evenings when the gods of the theatre were smiling and where the dancers themselves were truly inspired.
This delectable ballet has been in the company repertoire for many years and it is easy to see why it is such a firm favourite. It has a ravishing score by Delibes, it offers great opportunities for set designers, and put simply, has the capacity to delight.
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But here you get the sorcery of Peter Wright’s choreography (interpreted this week by Birmingham Royal Ballet’s top seed) along with sumptuous costumes and sets by Peter Farmer.
The opening is perfect, Peter Farmer has created a village square at dawn in some mythical Transylvanian province. The sun rises over distant mountains and is slowly reflected in the lake and on the age-old balconies and roofs of this tiny village.
The whole thing is beautiful in a nostalgic kind of way like all the illustrated fairy books of our childhood.
Gradually the light increases (fine lighting design by Peter Teigen incidentally) and ushers in the company with the exquisite Momoko Hirata as the naughty girl Swanilda, bent on capturing her faithful swain Franz (Cesar Morales dancing better than I have ever seen him in a role which fits him like a glove).
Wright’s use of space and groupings is first class, and I guess one of the loveliest moments is when the young men and women in red and green Hungarian costumes sweep down the stage in the famous czardas, with all the heel-clicking and thrown-back heads you could wish for.
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Morales and Hrata make a fine pair in the great solos.
Hirata flirts and casts languorous glances at Morales, and somehow is able to show you the detail of the choreography in an astonishing way.
She takes her time and has perfect balance and poise.
But Franz falls for a doll, and so the sequences inside old Coppelius’s workshop, filled with moving dolls and dark shadows is always remarkable with an eerie subplot of sorcery black magic.
Franz is drugged and old Coppelius, gulled by Swanilda into believing his beautiful doll has come to life, is left broken-hearten. Michael O’Hare rarely dances these days. His Coppelius, in its moves and mime was a masterpiece only equalled by David Bintley’s interpretation of the role at a recent BRB performance at Symphony Hall.
It all ends happily, Coppelius is offered a consolatory bag of gold by the local Duke and we marvel at the duke’s palace with dozens of windows glowing in the twilight.
But there are now three endings for Coppelius. In previous productions we have seen his doll come to life at the end, that was altered to his wheeling off a lifeless doll and in this show he jumps on the lover’s flower wagon. Please make up your mind BRB and fix it once and for all.
Runs until Saturday, February 28.