It isn’t just for kids, though they will enjoy this charming story ballet at PNB (through April 24) immensely. Coppélia’s choreography, by ballerina Alexandra Danilova and Balanchine after Petipa’s original ideas, has all the sophistication of these two great collaborators so that apart from being great fun it is of interest to the most experienced ballet-goers and a challenge to the principal dancers as well.
For the opening performance Friday night at McCaw Hall, director Peter Boal of Pacific Northwest Ballet cast Lesley Rausch as Swanilda, the village girl battling the doll Coppélia for the love of Franz (danced by Jerome Tisserand).
This was Rausch’s night. She shone in the role, which requires strong characterization as well as great technical skills. Her delicious shrugs in Act One, her mischievous spirit in Act Two and her warmth when forgiving her besotted swain were matched by breathtaking balance throughout, such as when she seemed to be floating on one toe for eons before coming down again—plus beautiful use of her arms, and a sense of grace about her all the time.
Tisserand’s role required tremendous well-executed leaps and turns, and some good acting in Act Two and he made a fine partner for Rausch. As Dr. Coppelius, the old doll-maker, William Lin-Yee seemed a bit too young most of the time. He hobbled well enough but could have inhabited his role more.
Apart from these three, Coppélia’s big cast highlights many members of the company as villagers and Swanilda’s friends. In the last act, the Festival of Bells combined with the group wedding gives the opportunity for several solos depicting the hours of the day and, best of all, 24 child ballerinas who support them all and are on stage almost the entire act. Beautifully trained by the PNB school, these ten- and eleven-year-olds in their miniature pink tutus danced in synchronized patterns, keeping lines and movements well together all the time.
After watching Rausch, the last act’s more abstract solos seemed of less interest, though Kylee Kitchens (who retires the end of this season) gave a dreamy feel to Dawn, and Noelani Pantastico (who dances Swanilda in several performances) delighted the eye in the tricky choreography of the Spinner. The four Jesterettes gave an opportunity to see four young dancers it’s worth watching: two in the corps, Nicole Rizzitano and Angelica Generosa, one an apprentice, Angeli Mamon, and one a Professional Level student, Madison Abeo.
But apart from the dancers, Roberta Guidi di Bagnio’s colorful costumes and sets, including a splendidly eerie loft where Dr. Coppelius creates his dolls, add much to the production as does Randall G. Chiarelli’s lighting.
Emil de Cou led the orchestra with minute attention to the dancers, sometimes slowing the music a hair to accommodate Rausch’s long balances. It makes such a differences to have a fine orchestra attuned to the needs of ballet dancers rather that a one-tempo-fits-all recording. The PNB orchestra is a treasure.
