His Majesty’s Theatre
Friday 11 September
Choreographer Greg Horsman has cleverly found a unique and fitting Australian context for this new three-act production of Coppélia, setting it in the small South Australian town of Hahndorf in 1878. It is a co-production with Queensland Ballet.
The original production of Coppélia premièred in 1870 and was set in a late 18th century village in Austria. It was based on a libretto by Charles Nuitter and Arthur Saint-Leon after a story E.T.A. Hoffman and choreographed by Saint-Leon to music by Léo Delibes.
The comic aspects of the ballet and the love story of Swanilda (Sarah Hepburn) and Franz (Andre Santos) prevail in Horsman’s production, but he also offers some thought-provoking undertones. Hahndorf was established in 1838 to provide a haven for German Lutheran refugees escaping persecution in Europe, and the plight of displaced people resonates today.
Horsman's new setting for the ballet and an interesting background narrative for Dr Coppélius are artfully conceived, and the story is clearly told and easy to follow. Most of the traditional choreography (after Arthur Saint-Léon and Marius Petipa) remains but many of the set pieces, such as the Czardas and Mazurka, the Dawn solo, the Betrothal Dance, the Hours (which becomes a couples' dance) and other solos, are integrated smoothly and very effectively into the flow of action on stage both musically and choreographically.
Dr Coppélius (Christian Luck) is traditionally portrayed as a mysterious character. Horsman's production provides an explanation for his eccentricity which makes sense of Dr Coppélius' attempts to create the doll Coppélia in his daughter's image after he arrives in Australia.
Act 1 begins to the expansive sounds of the West Australian Symphony Orchestra conducted by Myron Romanul playing Delibes' overture, as a short prologue introduces Dr Coppélius and his young daughter Coppélia packing their trunks for their long journey to Australia. The ship's voyage, the tragic death at sea of the young girl, and her father's profound grief, are all tellingly and movingly conveyed in beautiful projected sepia and black and white images.
Hugh Colman’s designs recreate a picture-perfect rural Hahndorf incorporating gum trees, corrugated iron rooftops, a windmill, church bell, water tanks, church and a magpie against glorious sunsets and blue skies. His Act 2 set brilliantly reveals the disturbing, dark interior of Dr Coppélius' house and also his state of mind, with masks and dolls, dolls' limbs and a large portrait of Dr Coppélius' daughter Coppélia all superbly lit by Jon Buswell. Noelene Hill’s marvellous costume designs complete the picture.
Youthful-looking Sarah Hepburn, with sparkling footwork and turns in her solos in Act 1 and Act 3, produced her finest work in Act 2, finding the mischievous streak in her Swanilda. She performed the Spanish and Scottish solos in style. Andre Santos is always a live-wire and he delighted the audience with his boyish, charming Franz and his exhilarating technical skills and strong partnering, and produced yet another memorable performance.
Christian Luck created a believable, grief-stricken and broken Doctor Coppélius. In this production several of Swanilda and Franz's “friends” have names and expanded roles and Mary (Melissa Boniface in a lively, eye-catching performance), Henry (Christopher Hill as Mary's charming beau), and bluestocking, bespectacled Liesl (an almost unrecognizable Reika Sato in an excellent comic performance), were all in great form. The Prayer solo (Ashleigh Bennett with a tentative but exquisite arabesque penchée) offers prayers for Mary's recovery after she is accidently knocked to the ground.
Highlights included the ensemble work, always a strength with West Australian Ballet, the ebullient Schuhplattler dancing, an Aussie Rules football segment with the men in Collingwood 1890s-style strips marking, bouncing and hand-balling expertly with one accurate drop-punt that would make the grade at Subiaco Oval. And in the finale, Dr Coppélius joins in the dancing with the townspeople, completing the happy ending.
This exceptional, accomplished new production of Coppélia thrilled the first night audience in Perth who laughed, applauded and empathised throughout.
- MARGARET MERCER
Photo by Emma Fishwick is of Florence Leroux-Coleno, Reika Sato and Carina Roberts .