There’s a particular kind of magic in story ballets. The curtain rises and at once there lies a spectacular scene beautiful enough to erase everything else you’ve seen that week. Perhaps this is especially true for Coppélia, which, with its cheerful tune, pastel hues, and magnificent, fairytale-like sets still fills me with child-like wonder. For two precious hours, we are whisked away to a land of beauty and larger-than-life joy, draped with wisteria and the essence of spring.
Seeing Coppélia fill McCaw Hall once more is like revisiting an old friend, one which Seattle hasn’t seen in person since 2016. In the eight years since, the company has grown up: Corps de Ballet dancers are now Principals, Professional Division students are now Soloists, and the corps is full of fresh faces. In May 2021, Pacific Northwest Ballet streamed a 2016 recording of Coppélia, but sitting amidst a full crowd four years later is a completely different experience. Hearing children shriek with glee, laughter bubble up all around, and getting to share the joy with so many is an irreplaceable experience.
During Saturday’s matinee, both lead roles were debuts, and my, what grand debuts they were! Sarah-Gabrielle Ryan, and Kyle Davis presented strong characters right from the start, and relished the drama in every moment. Their comedic timing and chemistry, particularly in Act One, was so nuanced that a single glance was enough to send ripples of laughter through the audience. In contrast to the humor-full interactions, the wheat pas de deux is a breathtaking turn towards the solemn, a moment of serious beauty amid juvenile joy. It hints towards their Act Three pas de deux, in which the silliness and faux-drama is replaced by genuine love, suddenly mature in a new way. Similar to how Giselle questions Albrecht’s love for her by playing “he loves me, he loves me not”, Swanilda trusts a blade of wheat to tell her if Franz truly loves her, and is devastated when she hears nothing. But Franz hears a rattle, and it is enough to prompt a high-flying variation, as one does of course.
Kyle Davis blew me away with his interpretation of Franz, not only with his acting capabilities, but the youthful, sprightful energy that he brought to the demanding choreography. Sarah-Gabrielle Ryan brought Swanilda to life with full gusto, flying across the stage with brisés as quick and light as a bird, and making the intricate, blink-and you’ll- miss- it footwork look far too easy. Above all though, her ebullient spirit, dedication to each moment, and radiant glee is what made this debut such a joy to watch.
Act Two is, and always has been my favorite act of Coppélia. I can still clearly remember the feeling of profound awe and wonder from when I first saw this production at age 10, and it was a delight to hear the audience let out a similar breath of amazement when the curtain went up on the elaborate, mood-evoking set of Act Two. Ryan Cardea proved once again his gift for crafting character, and made us all empathize with his elation at seeing his work come to life. There were many moments where I felt deeply for his character, as the music guides us to do, shifting from playful to breathlessly soft and hopeful. Balanchine choreographed this second act with such precision. His impeccable musical timing, physical comedy, and fantastical imagination create a scene which you’ll regret to leave, and if you’re anything like me, you’ll find yourself grinning like a fool throughout it all.
Most of Act Two involves only the three lead characters: Swanilda, Franz, and Dr. Coppelius, and yet together they create moment after moment that call forth chuckles and shrieks of joy from every corner of the theater. Sarah-Gabrielle Ryan was a profoundly convincing Coppélia, so much so that one young voice called out from second tier: “She’s a doll! She’s a doll!” Ballets like Swan Lake, The Sleeping Beauty, and Giselle, among others, are notoriously acknowledged for their difficulty, but Coppélia is often overlooked for what it requires from a dancer who takes on the role of Swanilda. She must not only be an exceptional classical dancer, she must also be a charming actress, spend an unusual amount of time on pointe, shape her limbs to appear doll-like, and perform two very different character dancers. The first of which, the spanish variation, reminded me what a magnificent Kitri Sarah-Gabrielle Ryan would be. It’s been many years since PNB brought Don Quixote around, perhaps now is the time!
I cannot possibly discuss Coppélia without practically writing a love letter to Delibes. When I last saw Coppélia in 2016, I fell head-over-heels in love with this colorful score, and am now perhaps even more intrigued by Delibes’ work after learning that Tchaikovsky was greatly inspired, and intimidated by what Delibes was able to achieve in Coppélia, and in his 1876 ballet, Sylvia (which premiered just seven months before Tchaikovsky’s Swan Lake). Compared to what was expected of ballet music at the time, Delibes presents a dynamic score, full of tenderness, and melodies that seem to already have cheeky pantomime woven into them. It is truly a delight to hear PNB’s remarkable orchestra bring this work to life.
Act Three brings peace back to the town, flooded with warm pastel tones, and a feeling that all is well. As with any production of Balanchine’s Coppélia, it is the twenty-four children in perfectly peachy tutus who win the audience's hearts. Their carefully placed hands, and infectious joy reminded me how genius Balanchine was in choosing to include children in so many of his ballets. Their budding dreams will not soon be forgotten, nor will this score surely ever leave their hearts. During Saturday’s matinee, the Waltz of the Golden Hours was led by a beaming Juliet Prine, who was, as always, a delight to watch, and who soared effortlessly amid the sea of pink.
As previously mentioned, in the final pas de deux we get to see a different side of Swanilda and Franz. They are mature in some new way, having left behind their tomfooleries of the previous acts, and showing newfound trust and connection. Having not seen Coppélia in many years, I found my jaw dropped at the complexity, and rigor of this pas de deux. Full of daring lifts, seemingly never-ending jump sequences, and signature Balanchine brilliance, it’s a feat of spirit and physicality. Yet Sarah-Gabrielle Ryan and Kyle Davis surged on as if they had never even heard of exhaustion, and earned every ounce (and then some) of applause they received.
Coppélia is affectionately known as the world’s happiest ballet, and is truly enchanting from start to finish. I only hope that we won't need to wait another eight years before it greets our eyes once more. What an exuberant way to close PNB’s 51st season. Bravo!
There are only two more chances to catch Coppélia:
Saturday, June 8th-7:30 (Leta Biasucci and James Kirby Rogers, with James Yoichi Moore)
Sunday, June 9th- 1:00 (Sarah-Gabrielle Ryan and Kyle Davis, with Ryan Cardea)
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