COMFY FIT: Cleo Ames as Swanilda impersonating Coppelia the doll, with Johnny Bovang as Dr Coppelius. Photo: Pat Bromilow-Downing COMFY FIT: Cleo Ames as Swanilda impersonating Coppelia the doll, with Johnny Bovang as Dr Coppelius. Photo: Pat Bromilow-Downing
ON MAY 25 the comedy ballet Coppelia, or to give its full title Coppelia, Ou La Fille Aux Yeux D’Email, celebrated its 136th anniversary. In 1870 that’s when it premiered at the Theatre Imperial de l’Opera in Paris with Giuseppina Bozzacchi as Swanilda and Eugenie Fiocre as Franz - a role often taken by a woman.
An immediate success, Coppelia links with Tchaikovsky’s ballets as those combining the all important elements of plot, music, choreography and decor to lead the field of great classical ballets.
Not surprisingly each remains part of international classical ballet companies repertoires. Based on ETA Hoffman’s Der Sandman and Die Puppe, Coppelia is a love story where Franz (Martin Miller) and Swanilda (Cleo Ames) have their love put to the test by a beautiful doll - Coppelia.
Only they don’t realize the girl reading on the balcony waving and blowing kisses to Franz - while ignoring Swanilda - is mechanical. A toy made by weirdo Dr Coppelius (Johnny Bovang).
Since Arthur Saint-Leon’s original choreography to his, and Charles-Louis-Etienne Nuitter’s libretto, the story has tempted numerous international choreographers as well as Robin van Wyk adding to our own David Poole’s 1965 production. In 1987 Lindy Raizenberg wrote a charming children’s version (worth repeating) performed in the then Nico Malan Theatre.
Spread over three acts the first takes place in an (unnamed) European village square where villagers gather to dance when the Burgomeister (benevolent Mervyn Williams) and his kindly wife (Jane Fidler) offer dowries to girls wishing to marry. It’s a jolly act incorporating Swanilda’s six friends, 12 couples performing a mazurka, and czardas and a charming pas de deux between Swanilda and Franz.
Already aware of his infatuation with Coppelia, Swanilda superstitiously measures his love against an ear of corn.
In a twinning with Albrecht counting the right number of daisy petals for Giselle, Franz succeeds “hearing” sounds in the corn’s ear, thus proving his fidelity. Its an act extensively using mime and one couldn’t fault the clarity of Ames, and Miller’s gestures. Neither that of Bovang as a rather sinister Dr Coppelius.
Although National Dance has become an integral part of classical ballets, Coppelia was where the mazurka and czardas made their “debut.” Wearing attractive stylised national dress (a dab of paint on boots would have made them look less worn), it’s a pity Dudley Tomlinson, Mary Suckling’s natural successor as Cape Town’s national dance authority wasn’t on hand to “polish” mazurka and czardas styles.
Looking a trifle under-rehearsed, Swanilda’s friends fared better in the second act in Dr Coppelius’s workshop. Although their footwork needed more sparkle, they acted well and Rosamund Ford delighted as Swanilda’s “scared” friend. Ames projected mischief in her every move. As Dr Coppelius’s dancing Spanish and Scottish Dolls Leane Theunissen and Elizabeth Nienaber showed no signs of sitting still for countless bars before springing to life to cope with the speed step intricacies of their numbers.
This act is where Dr Coppelius shows his sinister side as, dipping into his spell book his incantations try drawing life from a drugged Franz to transfer to Coppelia (who unbeknown to him is Swanilda in disguise). A master mime Bovang drew some audience sympathy when he realized Swanilda had fooled him.
Typical of a third act there are divertissement and a grand pas de deux.
Costumed in attractive twilight calf-length off the shoulder dresses, in Dance of the Hours, 12 dancers represented the hours of the day - but where were the props depicting these hours?
Ford, Craig Pedro and Revil Yon performed a pleasing Dawn pas de trois. Claire Spector excelled, as opposite Xola Putye, her Prayer radiated serenity and grace. Unfortunately choreographically the pas d’action had less to do with moments in prayer than an abstract pas de deux.
Ames and Milner blend and work well together. From a personality point of view Ames fits comfortably into the role of the soubrette. Perkily, yet confidently, she discharged taxing technical obstacles.
From the dancing point of view Miller carried this performance.
Technically strong, he had all the lightness and freshness the role demanded. A favourite with the kiddies they continually giggled at his miming antics. What better judge than that?
However top honours go to conductor Brandon Phillips guiding the Cape Town Philharmonic Orchestra through Leo Delibes varied, melodic and danceable music.
They were a treat to listen to. Newish to the ballet podium Phillips is proving an asset to this tricky art form.