To close out the 241st season, the Mariinsky presented the premiere of its new “Coppelia”, a ballet that has not run in the company’s repertoire since Oleg Vinogradov presided over the ballet troupe. Choreographer/dancer Alexander Sergeev, with significant choreographic experience already under his belt, created a full-scale contemporary production that uses multimedia, novel pastel-hued costumes, steps from well-known neoclassical ballets, and a slight twist to the libretto that adds intrigue to this old story.
The sets, appealing in their simplicity, feature a boxy two-floor toy store painted fresh with pale blue stripes. This is not an old fashioned village, but a 1950’s European store using the best of “contemporary” technology to produce dolls: a half-mad scientist as the magic dollmaker appears in a short prologue writing formulas on a chalkboard projected in larger size onto the entire curtain. His brainy scheme is selling spectacles that, once adorned, make the wearer fall in love with his dolls. Once “hooked” he plans to transfer their life force into the dolls to make them human. Of course, nothing could go wrong.
One of most intellectual choreographers of today, Sergeev has fused classical steps with mini odes to big-name choreographers from across the ages: the piqué with a low leg devant, one arm reaching forward and one hand tracing backward over the ballerina’s crown stems from Balanchine’s “Diamonds” while the brush degagé devant with arms in 4th at end of the Act 1 duet suggests “Symphony in C”; four demi-soloists adorned with royal blue costumes in Act 1 perform the heel-toe plié in a la seconde that echoes Hans Van Manen’s “Trois Gnossiennes”; the firefighters in Act II insert sweeping leg and arm movements from Forsythe in between their gymnastic feats (special attention goes to Danil Sazonov for his hands-free cartwheels and Grisha Popov for the Corsaire-like barrel-jump tricks on opening night, July 25th). During the Act 2 wedding celebration, 12 dolls perform a “chair dance” to the beat clapped and stomped by men sprinkled along the stage’s periphery, this section an ode to Alberto Alonso’s “Carmen Suite”. Sergeev seems to include his own step combinations and positions as well, but the themes shift so quickly that they are difficult to catch. There are load of details integrated into the staging nuances as well: mini carts with umbrellas sell ice creams to the onstage crowds, and a set of Orthodox Jewish men “shift” the sets in Act I.
The dollmaker Coppelius, perfectly embodied on opening night by Konstantin Zverev, etches the figure of a mysterious, almost Drosselmeyer-like magician-turned-dollmaker whose workshop includes extensive scientific equations and even a turn-of-the-century life-sucking machine. On the 28th, the role was performed by Roman Belyakov with equal mystery and aplomb. Both of them displayed a cunning approach to their ultimate victim, the naive Franz, who was performed expertly by Kimin Kim the first night and by Timur Askerov on the 28th.
Coppelius’ main variation comes at the end of Act II, in which his steps echo Roland Petit’s torreador, followed by one of the most genius sections in the entire production: the fire brigade, dressed like 1920’s firefighters with a tiny toy fire engine rolled onstage. These 6 gentleman perform all manner of acrobatic feats to infectiously engaging music – split jumps, gymnastic flips, barrel turns, you name it. At the end, their fire hose is extended across the stage to spray confetti onto the smoking Coppelia doll who has literally burnt out. The charm of this section is simply unmatched.
Olesya Novikova, considered the prima of all primas at the Mariinsky these days despite her very late appointment to this status, danced a bright but delicate Swanilda on the 28th, which was the third night of the four-night run. Nadezdha Batoeva’s interpretation on the 25th in contrast was bolder but with equally wry humor especially when Swanilda removes her doll wig to show Franz how she has been hiding.
This ballet is one made for mainstream viewers though, with a second act is especially geared to children: in addition to the dolls and the fire brigade, dancing kittens, and an oversized dancing teddy bear endear themselves to the audience. While spectators have mixed views about the sets and costumes –some say the individual dancers in the corps de ballet should each have slightly different costumes, similar to “Don Quixote”– others find the streamlining easier on the eyes. Four groups of couples in pale yellow, pink, green and purple, serve as the main color pallet throughout the evening, and pastel hues reign throughout both acts.
Alexander Sergeev’s production is one steeped in imagination that leaves room for thought about the musical, visual and choreographic components. This “Coppelia” is a brave new look at an old classic, even if it veers away from tradition at times. Sergeev has succeeded in creating a production that will attract more viewers to the theatre. It is in this respect, it is a win.