Emerald Ballet Theatre’s production of Coppélia opens in a different manner than any version of this classic that I have seen. It begins with a prologue in which Dr. Coppélius falls asleep and dreams that his creations have come to life. Emerald Ballet Theatre cleverly uses this prologue to give stage time to the youngest of their students from the tiniest bunnies, to clown dolls, to little soldiers, and sweet canaries. Even the students were well-rehearsed, with detailed musicality that was a joy to witness. Their older students also shone as larger dolls, and gave a preview to the high level of dancing to come later in the performance. It is incredible to see the progression through the levels of the school, and to see that the younger students have the opportunity to share this performance with those whom I can only assume they look up to a great deal.
The set pieces, particularly the detailed village backdrop, gave a professional flair to the entire production, and truly brought the story’s setting to life. It was there in the village that we first met Swanilda and Franz, played by Miranda Elder and Danya Sakara during Sunday’s show. Elder portrayed Swanilda beautifully, with exquisite technique and expression. She moved through some very challenging choreography with grace, and brought the perfect amount of sprite and drama to the role. It is a testament to the school that she has trained at EBT since age four. Very impressive! Sakara also delivered a delightful interpretation of Franz, shining particularly in the comedy of Act Two, and the Act Three pas de deux.
I was delighted to see that although most of the choreography in this production differs from Petipa and Cecchetti’s original, the musically comedic moments of Act Two were left untouched. In his score, Léo Delibes offered up comedic gold which pairs brilliantly with the choreography, and hearing the joy all around was proof enough how much it is still appreciated 154 years later.
There were several moments throughout when I forgot that I was watching a school production. To name a few: Olivia Thompson as the Prologue Coppelia Doll, Callie Moss in the Act Three Pray variation, and of course the final pas de deux. What an exquisite ballet education these students are receiving! This was my first time seeing a production by Emerald Ballet Theatre, and I am greatly impressed by what they bring to the stage. Beautiful port de bra, carefully placed epaulement, such clean pointe work through demanding choreography, and most of all, the joy that floods from the stage. The character dance pieces, particularly the Act 1 Mazurka were a testament to how much quality character training these dancers have received. It was truly a delight to see these dances performed with so much pride, vitality, and strength.
This thriving ballet school clearly has a strong community around it that makes beautiful performances like this possible. Bravo to all involved!
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